51 files changed, 36080 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/35125-8.txt b/35125-8.txt
new file mode 100644
index 0000000..3b15334
--- /dev/null
+++ b/35125-8.txt
@@ -0,0 +1,12018 @@
+The Project Gutenberg EBook of Dumas' Paris, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Dumas' Paris
+
+Author: Francis Miltoun
+
+Release Date: January 31, 2011 [EBook #35125]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DUMAS' PARIS ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+
+
+
+Dumas' Paris
+
+
+
+
+_UNIFORM VOLUMES_
+
+
+  Dickens' London
+        BY FRANCIS MILTOUN
+  Library 12mo, cloth, gilt top            $2.00
+  The Same, 3/4 levant morocco              5.00
+
+  Milton's England
+        BY LUCIA AMES MEAD
+  Library 12mo, cloth, gilt top             2.00
+  The Same, 3/4 levant morocco              5.00
+
+  Dumas' Paris
+        BY FRANCIS MILTOUN
+  Library 12mo, cloth, gilt top      _net_  1.60
+                                _postpaid_  1.75
+  The Same, 3/4 levant morocco       _net_  4.00
+                                _postpaid_  4.15
+
+  L. C. PAGE & COMPANY
+  New England Building
+  Boston, Mass.
+
+
+
+
+[Illustration: _Alexandre Dumas_]
+
+
+
+
+  Dumas' Paris
+
+
+  By Francis Miltoun
+
+  Author of "Dickens' London," "Cathedrals of Southern
+  France," "Cathedrals of Northern France," etc.
+
+
+  With two Maps and many Illustrations
+
+
+  Boston
+  L. C. Page & Company
+  MDCCCCV
+
+
+
+
+  _Copyright, 1904_
+  BY L. C. PAGE & COMPANY
+  (INCORPORATED)
+
+  _All rights reserved_
+
+  Published November, 1904
+
+  _COLONIAL PRESS
+  Electrotyped and Printed by C. H. Simonds & Co.
+  Boston, Mass., U.S.A._
+
+
+
+
+Contents
+
+
+  CHAPTER                                             PAGE
+
+      I. A GENERAL INTRODUCTION                          1
+
+     II. DUMAS' EARLY LIFE IN PARIS                     14
+
+    III. DUMAS' LITERARY CAREER                         33
+
+     IV. DUMAS' CONTEMPORARIES                          68
+
+      V. THE PARIS OF DUMAS                             83
+
+     VI. OLD PARIS                                     126
+
+    VII. WAYS AND MEANS OF COMMUNICATION               147
+
+   VIII. THE BANKS OF THE SEINE                        165
+
+     IX. THE SECOND EMPIRE AND AFTER                   178
+
+      X. LA VILLE                                      195
+
+     XI. LA CIT�                                       235
+
+    XII. L'UNIVERSIT� QUARTIER                         244
+
+   XIII. THE LOUVRE                                    257
+
+    XIV. THE PALAIS ROYAL                              266
+
+     XV. THE BASTILLE                                  278
+
+    XVI. THE ROYAL PARKS AND PALACES                   297
+
+   XVII. THE FRENCH PROVINCES                          321
+
+  XVIII. LES PAYS �TRANGERS                            359
+
+  APPENDICES                                           373
+
+  INDEX                                                377
+
+
+
+
+List of Illustrations
+
+
+                                                      PAGE
+
+  ALEXANDRE DUMAS                           _Frontispiece_
+
+  DUMAS' HOUSE AT VILLERS-COTTERETS                      7
+
+  STATUE OF DUMAS AT VILLERS-COTTERETS                  14
+
+  FACSIMILE OF DUMAS' OWN STATEMENT OF HIS BIRTH        26
+
+  FACSIMILE OF A MANUSCRIPT PAGE FROM ONE OF
+  DUMAS' PLAYS                                          37
+
+  D'ARTAGNAN                                            48
+
+  ALEXANDRE DUMAS, _Fils_                               64
+
+  TWO FAMOUS CARICATURES OF ALEXANDRE DUMAS             68
+
+  TOMB OF ABELARD AND H�LO�SE                           82
+
+  GENERAL FOY'S RESIDENCE                               84
+
+  D'ARTAGNAN, FROM THE DUMAS STATUE BY GUSTAVE DOR�    123
+
+  PONT NEUF--PONT AU CHANGE                            135
+
+  PORTRAIT OF HENRY IV.                                143
+
+  GRAND BUREAU DE LA POSTE                             154
+
+  THE OD�ON IN 1818                                    167
+
+  PALAIS ROYAL, STREET FRONT                           183
+
+  77 RUE D'AMSTERDAM--RUE DE ST. DENIS                 188
+
+  PLACE DE LA GR�VE                                    197
+
+  TOUR DE ST. JACQUES LA BOUCHERIE (M�RYON'S
+  ETCHING, "LE STRYGE")                                198
+
+  H�TEL DES MOUSQUETAIRES, RUE D'ARBRE SEC             207
+
+  D'ARTAGNAN'S LODGINGS, RUE TIQUETONNE                214
+
+  109 RUE DU FAUBOURG ST. DENIS (D�SCAMPS' STUDIO)     221
+
+  N�TRE DAME DE PARIS                                  235
+
+  PLAN OF LA CIT�                                      236
+
+  CARMELITE FRIARY, RUE VAUGIRARD                      246
+
+  PLAN OF THE LOUVRE                                   257
+
+  THE GARDENS OF THE TUILERIES                         265
+
+  THE ORLEANS BUREAU, PALAIS ROYAL                     268
+
+  THE FALL OF THE BASTILLE                             284
+
+  INN OF THE PONT DE S�VRES                            302
+
+  BOIS DE BOULOGNE--BOIS DE VINCENNES--FOR�T DE
+  VILLERS-COTTERETS                                    315
+
+  CH�TEAU OF THE DUCS DE VALOIS, CR�PY                 318
+
+  CASTLE OF PIERREFONDS                                324
+
+  N�TRE DAME DE CHARTRES                               329
+
+  CASTLE OF ANGERS--CH�TEAU OF BLOIS                   333
+
+
+
+
+Dumas' Paris
+
+
+
+
+CHAPTER I.
+
+A GENERAL INTRODUCTION
+
+
+There have been many erudite works, in French and other languages,
+describing the antiquities and historical annals of Paris from the
+earliest times; and in English the mid-Victorian era turned out--there are
+no other words for it--innumerable "books of travel" which recounted
+alleged adventures, strewn here and there with bits of historical lore and
+anecdotes, none too relevant, and in most cases not of undoubted
+authenticity.
+
+Of the actual life of the people in the city of light and learning, from
+the times of Napoleon onward, one has to go to the fountainhead of written
+records, the acknowledged masterworks in the language of the country
+itself, the reports and _annuaires_ of various _soci�t�s_, _commissions_,
+and what not, and collect therefrom such information as he finds may suit
+his purpose.
+
+In this manner may be built up a fabric which shall be authentic and
+proper, varied and, most likely, quite different in its plan, outline, and
+scope from other works of a similar purport, which may be recalled in
+connection therewith.
+
+Paris has been rich in topographical historians, and, indeed, in her
+chroniclers in all departments, and there is no end of relative matter
+which may be evolved from an intimacy with these sources of supply. In a
+way, however, this information ought to be supplemented by a personal
+knowledge on the part of the compiler, which should make localities,
+distances, and environments--to say nothing of the actual facts and dates
+of history--appear as something more than a shrine to be worshipped from
+afar.
+
+Given, then, these ingredients, with a love of the subject,--no less than
+of the city of its domicile,--it has formed a pleasant itinerary in the
+experiences of the writer of this book to have followed in the footsteps
+of Dumas _p�re_, through the streets that he knew and loved, taking note
+meanwhile of such contemporary shadows as were thrown across his path,
+and such events of importance or significance as blended in with the
+scheme of the literary life of the times in which he lived, none the less
+than of those of the characters in his books.
+
+Nearly all the great artists have adored Paris--poets, painters, actors,
+and, above all, novelists.
+
+From which it follows that Paris is the ideal city for the novelist, who,
+whether he finds his special subjects in her streets or not, must be
+inspired by this unique fulness and variety of human life. Nearly all the
+great French novelists have adored Paris. Dumas loved it; Victor Hugo
+spent years of his time in riding about her streets on omnibuses; Daudet
+said splendid things of it, and nearly, if not quite, all the great names
+of the artistic world of France are indissolubly linked with it.
+
+Paris to-day means not "La Ville," "La Cit�," or "L'Universit�," but the
+whole triumvirate. Victor Hugo very happily compared the three cities to a
+little old woman between two handsome, strapping daughters.
+
+It was Beranger who announced his predilection for Paris as a birthplace.
+Dumas must have felt something of the same emotion, for he early
+gravitated to the "City of Liberty and Equality," in which--even before
+the great Revolution--misfortune was at all times alleviated by sympathy.
+
+       *       *       *       *       *
+
+From the stones of Paris have been built up many a lordly volume--and many
+a slight one, for that matter--which might naturally be presumed to have
+recounted the last word which may justifiably have been said concerning
+the various aspects of the life and historic events which have encircled
+around the city since the beginning of the _moyen age_.
+
+This is true or not, according as one embraces a wide or a contracted
+horizon in one's view.
+
+For most books there is, or was at the time of their writing, a reason for
+being, and so with familiar spots, as with well-worn roads, there is
+always a new panorama projecting itself before one.
+
+The phenomenal, perennial, and still growing interest in the romances of
+Dumas the elder is the excuse for the present work, which it is to be
+hoped is admittedly a good one, however far short of exhaustiveness--a
+much overworked word, by the way--the volume may fall.
+
+It were not possible to produce a complete or "exhaustive" work on any
+subject of a historical, topographical or �sthetic nature: so why claim
+it? The last word has not yet been said on Dumas himself, and surely not
+on Paris--no more has it on Pompeii, where they are still finding
+evidences of a long lost civilization as great as any previously
+unearthed.
+
+It was only yesterday, too (this is written in the month of March, 1904),
+that a party of frock-coated and silk-hatted benevolent-looking gentlemen
+were seen issuing from a manhole in the _Universit� quartier_ of Paris.
+They had been inspecting a newly discovered _thermale �tablissement_ of
+Roman times, which led off one of the newly opened subterranean arteries
+which abound beneath Paris.
+
+It is said to be a rival of the Roman bath which is enclosed within the
+walls of the present Mus�e Cluny, and perhaps the equal in size and
+splendour of any similar remains extant.
+
+This, then, suggests that in every land new ground, new view-points, and
+new conditions of life are making possible a record which, to have its
+utmost value, should be a progressively chronological one.
+
+And after this manner the present volume has been written. There is a fund
+of material to draw upon, historic fact, pertinent and contemporary
+side-lights, and, above all, the environment which haloed itself around
+the personality of Dumas, which lies buried in many a _cache_ which, if
+not actually inaccessible, is at least not to be found in the usual books
+of reference.
+
+Perhaps some day even more will have been collected, and a truly
+satisfying biographical work compiled. If so, it will be the work of some
+ardent Frenchman of a generation following that in which Alexandre Dumas
+lived, and not by one of the contemporaries of even his later years.
+Albert Vandam, perhaps, might have done it as it should have been done;
+but he did not do so, and so an intimate personal record has been lost.
+
+Paris has ever been written down in the book of man as the city of light,
+of gaiety, and of a trembling vivacity which has been in turn profligate,
+riotous, and finally criminal.
+
+All this is perhaps true enough, but no more in degree than in most
+capitals which have endured so long, and have risen to such greatness.
+
+With Paris it is quantity, with no sacrifice of quality, that has placed
+it in so pre�minent a position among great cities, and the life of
+Paris--using the phrase in its most commonly recognized aspect--is
+accordingly more brilliant or the reverse, as one views it from the
+_boulevards_ or from the _villettes_.
+
+
+[Illustration: DUMAS' HOUSE AT VILLERS-COTTERETS]
+
+
+French writers, the novelists in particular, have well known and made
+use of this; painters and poets, too, have perpetuated it in a manner
+which has not been applied to any other city in the world.
+
+To realize the conditions of the life of Paris to the full one has to go
+back to Rousseau--perhaps even farther. His observation that "_Les maisons
+font la ville, mais le citoyens font la cit�_," was true when written, and
+it is true to-day, with this modification, that the delimitation of the
+confines of _la ville_ should be extended so far as to include all
+workaday Paris--the shuffling, bustling world of energy and spirit which
+has ever insinuated itself into the daily life of the people.
+
+The love and knowledge of Alexandre Dumas _p�re_ for Paris was great, and
+the accessory and detail of his novels, so far as he drew upon the
+capital, was more correct and apropos. It was something more than a mere
+dash of local colour scattered upon the canvas from a haphazard palette.
+In _minuti�_ it was not drawn as fine as the later Zola was wont to
+accomplish, but it showed no less detail did one but comprehend its full
+meaning.
+
+Though born in the provincial town Villers-Cotterets,--seventy-eight
+kilom�tres from Paris on the road to Soissons,--Dumas came early in touch
+with the metropolis, having in a sort of runaway journey broken loose
+from his old associations and finally becoming settled in the capital as a
+clerk in the Bureau d'Orleans, at the immature age of twenty. Thus it was
+that his impressions and knowledge of Paris were founded upon an
+experience which was prolonged and intimate, extending, with brief
+intervals of travel, for over fifty years.
+
+He had journeyed meantime to Switzerland, England, Corsica, Naples, the
+Rhine, Belgium,--with a brief residence in Italy in 1840-42,--then
+visiting Spain, Russia, the Caucasus, and Germany.
+
+This covered a period from 1822, when he first came to Paris, until his
+death at Puys, near Dieppe, in 1870; nearly a full half-century amid
+activities in matters literary, artistic, and social, which were scarce
+equalled in brilliancy elsewhere--before or since.
+
+In spite of his intimate association with the affairs of the capital,--he
+became, it is recalled, a candidate for the Chamber of Deputies at the
+time of the Second Republic,--Dumas himself has recorded, in a preface
+contributed to a "Histoire de l'Eure," by M. Charpillon (1879), that if he
+were ever to compile a history of France he should first search for _les
+pierres angulaires_ of his edifice in the provinces.
+
+This bespeaks a catholicity which, perhaps, after all, is, or should be,
+the birthright of every historical novelist.
+
+He said further, in this really valuable and interesting contribution,
+which seems to have been entirely overlooked by the bibliographers, that
+"to write the history of France would take a hundred volumes"--and no
+doubt he was right, though it has been attempted in less.
+
+And again that "the aggrandizement of Paris has only been accomplished by
+a weakening process having been undergone by the provinces." The egg from
+which Paris grew was deposited in the nest of _la cit�_, the same as are
+the eggs laid _par un cygne_.
+
+He says further that in writing the history of Paris he would have founded
+on "Lutetia (or Louchetia) the _Villa de Jules_, and would erect in the
+Place de Notre Dame a temple or altar to Ceres; at which epoch would have
+been erected another to Mercury, on the Mount of Ste. Genevi�ve; to Apollo
+in the Rue de la Barillerie, where to-day is erected that part of
+Tuileries built by Louis XIV., and which is called _Le Pavillon de Flore_.
+
+"Then one would naturally follow with _Les Thermes de Julien_, which grew
+up from the _Villa de Jules_; the reunion under Charlemagne which
+accomplished the Sorbonne (_Sora bona_), which in turn became the
+favourite place of residence of Hugues Capet, the stronghold of
+Philippe-Auguste, the _biblioth�que_ of Charles V., the monumental capital
+of Henri VI. d'Angleterre; and so on through the founding of the first
+printing establishment in France by Louis XI.; the new school of painting
+by Fran�ois I.; of the Acad�mie by Richelieu; ... to the final curtailment
+of monarchial power with the horrors of the Revolution and the significant
+events which centred around the Bastille, Versailles, and the Tuileries."
+
+Leaving the events of the latter years of the eighteenth century, and
+coming to the day in which Dumas wrote (1867), Paris was truly--and in
+every sense--
+
+"The capital of France, and its history became not only the history of
+France but the history of the world.... The city will yet become the
+capital of humanity, and, since Napoleon repudiated his provincial
+residences and made Paris _sa r�sidence imp�riale_, the man of destiny who
+reigns in Paris in reality reigns throughout the universe."
+
+There may be those who will take exception to these brilliant words of
+Dumas. The Frenchman has always been an ardent and _soi-disant_ bundle of
+enthusiasm, but those who love him must pardon his pride, which is
+harmless to himself and others alike, and is a far more admirable quality
+than the indifference and apathy born of other lands.
+
+His closing words are not without a cynical truth, and withal a pride in
+Paris:
+
+"It is true that if we can say with pride, we Parisians, 'It was Paris
+which overthrew the Bastille,' you of the provinces can say with equal
+pride, 'It was we who made the Revolution.'"
+
+As if to ease the hurt, he wrote further these two lines only:
+
+"At this epoch the sister nations should erect a gigantic statue of Peace.
+This statue will be Paris, and its pedestal will represent _La Province_."
+
+His wish--it was not prophecy--did not, however, come true, as the world
+in general and France and poor rent Alsace et Lorraine in particular know
+to their sorrow; and all through a whim of a self-appointed, though
+weakling, monarch.
+
+The era of the true peace of the world and the monument to its glory came
+when the French nation presented to the New World that grand work of
+Bartholdi, "Liberty Enlightening the World," which stands in New York
+harbour, and whose smaller replica now terminates the All�e des Cygnes.
+
+The grasp that Dumas had of the events of romance and history served his
+purpose well, and in the life of the fifties in Paris his was a name and
+personality that was on everybody's lips.
+
+How he found time to live the full life that he did is a marvel; it
+certainly does not bear out the theory of heredity when one considers the
+race of his birth and the "dark-skinned" languor which was supposedly his
+heritage.
+
+One edition of his work comprises two hundred and seventy-seven volumes,
+and within the year a London publisher has announced some sixty volumes
+"never before translated." Dumas himself has said that he was the author
+of over seven hundred works.
+
+In point of time his romances go back to the days of the house of Valois
+and the Anglo-French wars (1328), and to recount their contents is to
+abstract many splendid chapters from out the pages of French history.
+
+It would seem as though nearly every personage of royalty and celebrity
+(if these democratic times will allow the yoking together of the two; real
+genuine _red_ republicans would probably link royalty and notoriety)
+stalked majestically through his pages, and the record runs from the
+fourteenth nearly to the end of the nineteenth century, with the exception
+of the reign of Louis XI.
+
+An ardent admirer of Sir Walter Scott has commented upon this lapse as
+being accounted for by the apparent futility of attempting to improve upon
+"Quentin Durward." This is interesting, significant, and characteristic,
+but it is not charitable, generous, or broad-minded.
+
+
+
+
+CHAPTER II.
+
+DUMAS' EARLY LIFE IN PARIS
+
+
+At fifteen (1817), Dumas entered the law-office of one Mennesson at
+Villers-Cotterets as a _saute-ruisseau_ (gutter-snipe), as he himself
+called it, and from this time on he was forced to forego what had been his
+passion heretofore: bird-catching, shooting, and all manner of woodcraft.
+
+When still living at Villers-Cotterets Dumas had made acquaintance with
+the art of the dramatist, so far as it was embodied in the person of
+Adolphe de Leuven, with whom he collaborated in certain immature
+melodramas and vaudevilles, which De Leuven himself took to Paris for
+disposal.
+
+"No doubt managers would welcome them with enthusiasm," said Dumas, "and
+likely enough we shall divert a branch of that Pactolus River which is
+irrigating the domains of M. Scribe" (1822).
+
+Later on in his "M�moires" he says: "Complete humiliation; we were refused
+everywhere."
+
+
+[Illustration: STATUE OF DUMAS AT VILLERS-COTTERETS]
+
+
+From Villers-Cotterets the scene of Dumas' labours was transferred to
+Cr�py, three and a half leagues distant, a small town to which he made his
+way on foot, his belongings in a little bundle "_not more bulky than that
+of a Savoyard when he leaves his native mountains_."
+
+In his new duties, still as a lawyer's clerk, Dumas found life very
+wearisome, and, though the ancient capital of the Valois must have made an
+impress upon him,--as one learns from the Valois romances,--he pined for
+the somewhat more free life which he had previously lived; or, taking the
+bull by the horns, deliberated as to how he might get into the very vortex
+of things by pushing on to the capital.
+
+As he tritely says, "To arrive it was necessary to make a start," and the
+problem was how to arrive in Paris from Cr�py in the existing condition of
+his finances.
+
+By dint of ingenuity and considerable activity Dumas left Cr�py in company
+with a friend on a sort of a runaway holiday, and made his third entrance
+into Paris.
+
+It would appear that Dumas' culinary and gastronomic capabilities early
+came into play, as we learn from the "M�moires" that, when he was not yet
+out of his teens, and serving in the notary's office at Cr�py, he
+proposed to his colleague that they take this three days' holiday in
+Paris.
+
+They could muster but thirty-five francs between them, so Dumas proposed
+that they should shoot game _en route_. Said Dumas, "We can kill, shall I
+say, one hare, two partridges, and a quail.... We reach Dammartin, get the
+hinder part of our hare roasted and the front part jugged, then we eat and
+drink." "And what then?" said his friend. "What then? Bless you, why we
+pay for our wine, bread, and seasoning with the two partridges, and we tip
+the waiter with the quail."
+
+The journey was accomplished in due order, and he and his friend put up at
+the H�tel du Vieux-Augustins, reaching there at ten at night.
+
+In the morning he set out to find his collaborateur De Leuven, but the
+fascination of Paris was such that it nearly made him forswear regard for
+the flight of time.
+
+He says of the Palais Royale: "I found myself within its courtyard, and
+stopped before the Theatre Fran�ais, and on the bill I saw:
+
+      "'Demain, Lundi
+          Sylla
+  Trag�die dans cinq Actes
+      Par M. de Jouy'
+
+"I solemnly swore that by some means or other ... I would see Sylla, and
+all the more so because, in large letters, under the above notice, were
+the words, 'The character of Sylla will be taken by M. Talma.'"
+
+In his "M�moires" Dumas states that it was at this time he had the
+temerity to call on the great Talma. "Talma was short-sighted," said he,
+"and was at his toilet; his hair was close cut, and his aspect under these
+conditions was remarkably un-poetic.... Talma was for me a god--a god
+unknown, it is true, as was Jupiter to Semele."
+
+And here comes a most delicious bit of Dumas himself, Dumas the egotist:
+
+"Ah, Talma! were you but twenty years younger or I twenty years older! I
+know the past, you cannot foretell the future.... Had you known, Talma,
+that the hand you had just touched would ultimately write sixty or eighty
+dramas ... in each of which you would have found the material for a
+marvellous creation...."
+
+Dumas may be said to have at once entered the world of art and letters in
+this, his third visit to Paris, which took place so early in life, but in
+the years so ripe with ambition.
+
+Having seen the great Talma in Sylla, in his dressing-room at the Theatre
+Fran�ais, he met Delavigne, who was then just completing his "Ecole des
+Viellards," Lucien Arnault, who had just brought out "Regulus;" Soumet,
+fresh from the double triumph of "Saul" and "Clymnestre;" here, too, were
+Lemercier, Delrien, Viennet, and Jouy himself; and he had met at the Caf�
+du Roi, Theadlon, Francis, Rochefort, and De Merle; indeed by his friend
+De Leuven he was introduced to the assemblage there as a "future
+Corneille," in spite of the fact that he was but a notary's clerk.
+
+Leaving what must have been to Dumas _the presence_, he shot a parting
+remark, "Ah, yes, I shall come to Paris for good, I warrant you that."
+
+In "The Taking of the Bastille" Dumas traces again, in the characters of
+Pitou and old Father Billot, much of the route which he himself took on
+his first visit to Paris. The journey, then, is recounted from first-hand
+information, and there will be no difficulty on the part of any one in
+tracing the similarity of the itinerary.
+
+Chapter I., of the work in question, brings us at once on familiar ground,
+and gives a description of Villers-Cotterets and its inhabitants in a
+manner which shows Dumas' hand so unmistakably as to remove any doubts as
+to the volume of assistance he may have received from others, on this
+particular book at least.
+
+"On the borders of Picardy and the province of Soissons, and on that part
+of the national territory which, under the name of the Isle of France,
+formed a portion of the ancient patrimony of our kings, and in the centre
+of an immense crescent, formed by a forest of fifty thousand acres, which
+stretches its horns to the north and south, rises, almost buried amid the
+shades of a vast park planted by Fran�ois I. and Henri II., the small city
+of Villers-Cotterets. This place is celebrated from having given birth to
+Charles Albert Demoustier, who, at the period when our present history
+commences, was there writing his Letters to Emilie on Mythology, to the
+unbounded satisfaction of the pretty women of those days, who eagerly
+snatched his publications from each other as soon as printed.
+
+"Let us add, to complete the poetical reputation of this little city,
+whose detractors, notwithstanding its royal ch�teau and its two thousand
+four hundred inhabitants, obstinately persist in calling it a mere
+village--let us add, we say, to complete its poetical reputation, that it
+is situated at two leagues distance from Laferte-Milan, where Racine was
+born, and eight leagues from Ch�teau-Thierry, the birthplace of La
+Fontaine.
+
+"Let us also state that the mother of the author of 'Britannicus' and
+'Athalie' was from Villers-Cotterets.
+
+"But now we must return to its royal ch�teau and its two thousand four
+hundred inhabitants.
+
+"This royal ch�teau, begun by Fran�ois I., whose salamanders still
+decorate it, and finished by Henri II., whose cipher it bears entwined
+with that of Catherine de Medici and encircled by the three crescents of
+Diana of Poictiers, after having sheltered the loves of the knight king
+with Madame d'Etampes, and those of Louis Philippe of Orleans with the
+beautiful Madame de Montesson, had become almost uninhabited since the
+death of this last prince; his son, Philippe d'Orleans, afterward called
+Egalit�, having made it descend from the rank of a royal residence to that
+of a mere hunting rendezvous.
+
+"It is well known that the ch�teau and forest of Villers-Cotterets formed
+part of the appanage settled by Louis XIV. on his brother Monsieur, when
+the second son of Anne of Austria married the sister of Charles II., the
+Princess Henrietta of England.
+
+"As to the two thousand four hundred inhabitants of whom we have promised
+our readers to say a word, they were, as in all localities where two
+thousand four hundred people are united, a heterogeneous assemblage.
+
+"Firstly: Of the few nobles, who spent their summers in the neighbouring
+ch�teaux and their winters in Paris, and who, mimicking the prince, had
+only a lodging-place in the city.
+
+"Secondly: Of a goodly number of citizens, who could be seen, let the
+weather be what it might, leaving their houses after dinner, umbrella in
+hand, to take their daily walk, a walk which was regularly bounded by a
+deep, invisible ditch which separated the park from the forest, situated
+about a quarter of a league from the town, and which was called, doubtless
+on account of the exclamation which the sight of it drew from the
+asthmatic lungs of the promenaders, satisfied at finding themselves not
+too much out of breath, the 'Ha, ha!'
+
+"Thirdly: Of a considerably greater number of artisans who worked the
+whole of the week and only allowed themselves to take a walk on the
+Sunday; whereas their fellow townsmen, more favoured by fortune, could
+enjoy it every day.
+
+"Fourthly and finally: Of some miserable proletarians, for whom the week
+had not even a Sabbath, and who, after having toiled six days in the pay
+of the nobles, the citizens, or even of the artisans, wandered on the
+seventh day through the forest to gather up dry wood or branches of the
+lofty trees, torn from them by the storm, that mower of the forest, to
+whom oak-trees are but ears of wheat, and which it scattered over the
+humid soil beneath the lofty trees, the magnificent appanage of a prince.
+
+"If Villers-Cotterets (Villerii ad Cotiam Reti�) had been, unfortunately,
+a town of sufficient importance in history to induce arch�ologists to
+ascertain and follow up its successive changes from a village to a town
+and from a town to a city--the last, as we have said, being strongly
+contested, they would certainly have proved this fact, that the village
+had begun by being a row of houses on either side of the road from Paris
+to Soissons; then they would have added that its situation on the borders
+of a beautiful forest having, though by slow degrees, brought to it a
+great increase of inhabitants, other streets were added to the first,
+diverging like the rays of a star and leading toward other small villages
+with which it was important to keep up communication, and converging
+toward a point which naturally became the centre, that is to say, what in
+the provinces is called _Le Carrefour_,--and sometimes even the Square,
+whatever might be its shape,--and around which the handsomest buildings of
+the village, now become a burgh, were erected, and in the middle of which
+rises a fountain, now decorated with a quadruple dial; in short, they
+would have fixed the precise date when, near the modest village church,
+the first want of a people, arose the first turrets of the vast ch�teau,
+the last caprice of a king; a ch�teau which, after having been, as we have
+already said, by turns a royal and a princely residence, has in our days
+become a melancholy and hideous receptacle for mendicants under the
+direction of the Prefecture of the Seine, and to whom M. Marrast issues
+his mandates through delegates of whom he has not, nor probably will ever
+have, either the time or the care to ascertain the names."
+
+The last sentence seems rather superfluous,--if it was justifiable,--but,
+after all, no harm probably was done, and Dumas as a rule was never
+vituperative.
+
+Continuing, these first pages give us an account of the difficulties under
+which poor Louis Ange Pitou acquired his knowledge of Latin, which is
+remarkably like the account which Dumas gives in the "M�moires" of his
+early acquaintance with the classics.
+
+When Pitou leaves Haramont, his native village, and takes to the road, and
+visits Billot at "Bruyere aux Loups," knowing well the road, as he did
+that to Damploux, Compi�gne, and Vivi�res, he was but covering ground
+equally well known to Dumas' own youth.
+
+Finally, as he is joined by Billot _en route_ for Paris, and takes the
+highroad from Villers-Cotterets, near Gondeville, passing Nanteuil,
+Dammartin, and Ermenonville, arriving at Paris at La Villette, he follows
+almost the exact itinerary taken by the venturesome Dumas on his runaway
+journey from the notary's office at Cr�py-en-Valois.
+
+Cr�py-en-Valois was the near neighbour of Villers-Cotterets, which
+jealously attempted to rival it, and does even to-day. In "The Taking of
+the Bastille" Dumas only mentions it in connection with Mother Sabot's
+_�ne_, "which was shod,"--the only ass which Pitou had ever known which
+wore shoes,--and performed the duty of carrying the mails between Cr�py
+and Villers-Cotterets.
+
+At Villers-Cotterets one may come into close contact with the ch�teau
+which is referred to in the later pages of the "Vicomte de Bragelonne."
+"Situated in the middle of the forest, where we shall lead a most
+sentimental life, the very same where my grandfather," said Monseigneur
+the Prince, "Henri IV. did with 'La Belle Gabrielle.'"
+
+So far as lion-hunting goes, Dumas himself at an early age appears to have
+fallen into it. He recalls in "Mes M�moires" the incident of Napoleon I.
+passing through Villers-Cotterets just previous to the battle of Waterloo.
+
+"Nearly every one made a rush for the emperor's carriage," said he;
+"naturally I was one of the first.... Napoleon's pale, sickly face seemed
+a block of ivory.... He raised his head and asked, 'Where are we?' 'At
+Villers-Cotterets, Sire,' said a voice. 'Go on.'" Again, a few days later,
+as we learn from the "M�moires," "a horseman coated with mud rushes into
+the village; orders four horses for a carriage which is to follow, and
+departs.... A dull rumble draws near ... a carriage stops.... 'Is it
+he--the emperor?' Yes, it was the emperor, in the same position as I had
+seen him before, exactly the same, pale, sickly, impassive; only the head
+droops rather more.... 'Where are we?' he asked. 'At Villers-Cotterets,
+Sire.' 'Go on.'"
+
+That evening Napoleon slept at the Elys�e. It was but three months since
+he had returned from Elba, but in that time he came to an abyss which had
+engulfed his fortune. That abyss was Waterloo; only saved to the
+allies--who at four in the afternoon were practically defeated--by the
+coming up of the Germans at six.
+
+Among the books of reference and contemporary works of a varying nature
+from which a writer in this generation must build up his facts anew, is
+found a wide difference in years as to the date of the birth of Dumas
+_p�re_.
+
+As might be expected, the weight of favour lies with the French
+authorities, though by no means do they, even, agree among themselves.
+
+His friends have said that no unbiassed, or even complete biography of the
+author exists, even in French; and possibly this is so. There is about
+most of them a certain indefiniteness and what Dumas himself called the
+"colour of sour grapes."
+
+The exact date of his birth, however, is unquestionably 1802, if a
+photographic reproduction of his natal certificate, published in Charles
+Glinel's "Alex. Dumas et Son Oeuvre," is what it seems to be.
+
+Dumas' aristocratic parentage--for such it truly was--has been the
+occasion of much scoffing and hard words. He pretended not to it himself,
+but it was founded on family history, as the records plainly tell, and
+whether Alexandre, the son of the brave General Dumas, the Marquis de la
+Pailleterie, was prone to acknowledge it or not does not matter in the
+least. The "feudal particle" existed plainly in his pedigree, and with no
+discredit to any concerned.
+
+
+[Illustration: FACSIMILE OF DUMAS' OWN STATEMENT OF HIS BIRTH]
+
+
+General Dumas, his wife, and his son are buried in the cemetery of
+Villers-Cotterets, where the exciting days of the childhood of Dumas, the
+romancer, were spent, in a plot of ground "conceded in perpetuity to the
+family." The plot forms a rectangle six metres by five, surrounded by
+towering pines.
+
+The three monuments contained therein are of the utmost simplicity, each
+consisting of an inclined slab of stone.
+
+The inscriptions are as follows:
+
+  FAMILLE
+
+  Thomas-Alexandre
+  Dumas
+  Davy de la Pailleterie
+  g�n�ral d� division
+  n� � Jeremie
+  Ile et C�te de Saint
+  Dominique
+  le 25 mars 1762,
+  d�c�d�
+  � Villers-Cotterets
+  le 27 f�vrier 1806
+
+
+  ALEXANDRE
+
+  Marie-Louise-Elizabeth
+  Labouret
+  �pouse
+  du g�n�ral de division
+  Dumas Davy
+  de la Pailleterie
+  n�e
+  � Villers-Cotterets
+  le 4 juillet 1769
+  d�c�d�e
+  le 1er aout 1838
+
+
+  DUMAS
+
+  Alexandre Dumas
+  n� � Villers-Cotterets
+  le 24 juillet 1802
+  d�c�d�
+  le 5 d�cembre 1870
+  � Puys
+  transf�r�
+  �
+  Villers-Cotterets
+  le
+  15 avril 1872
+
+There would seem to be no good reason why a book treating of Dumas' Paris
+might not be composed entirely of quotations from Dumas' own works. For a
+fact, such a work would be no less valuable as a record than were it
+evolved by any other process. It would indeed be the best record that
+could possibly be made, for Dumas' topography was generally truthful if
+not always precise.
+
+There are, however, various contemporary side-lights which are thrown upon
+any canvas, no matter how small its area, and in this instance they seem
+to engulf even the personality of Dumas himself, to say nothing of his
+observations.
+
+Dumas was such a part and parcel of the literary life of the times in
+which he lived that mention can scarce be made of any contemporary event
+that has not some bearing on his life or work, or he with it, from the
+time when he first came to the metropolis (in 1822) at the impressionable
+age of twenty, until the end.
+
+It will be difficult, even, to condense the relative incidents which
+entered into his life within the confines of a single volume, to say
+nothing of a single chapter. The most that can be done is to present an
+abridgment which shall follow along the lines of some preconceived
+chronological arrangement. This is best compiled from Dumas' own words,
+leaving it to the additional references of other chapters to throw a sort
+of reflected glory from a more distant view-point.
+
+The reputation of Dumas with the merely casual reader rests upon his
+best-known romances, "Monte Cristo," 1841; "Les Trois Mousquetaires,"
+1844; "Vingt Ans Apr�s," 1845; "Le Vicomte de Bragelonne," 1847; "La Dame
+de Monsoreau," 1847; and his dramas of "Henri III. et Sa Cour," 1829,
+"Antony," 1831, and "Kean," 1836.
+
+His memoirs, "Mes M�moires," are practically closed books to the mass of
+English readers--the word books is used advisedly, for this remarkable
+work is composed of twenty stout volumes, and they only cover ten years of
+the author's life.
+
+Therein is a mass of fact and fancy which may well be considered as
+fascinating as are the "romances" themselves, and, though autobiographic,
+one gets a far more satisfying judgment of the man than from the various
+warped and distorted accounts which have since been published, either in
+French or English.
+
+Beginning with "Memories of My Childhood" (1802-06), Dumas launches into
+a few lines anent his first visit to Paris, in company with his father,
+though the auspicious--perhaps significant--event took place at a very
+tender age. It seems remarkable that he should have recalled it at all,
+but he was a remarkable man, and it seems not possible to ignore his
+words.
+
+"We set out for Paris, ah, that journey! I recollect it perfectly.... It
+was August or September, 1805. We got down in the Rue Thiroux at the
+house of one Doll�.... I had been embraced by one of the most noble ladies
+who ever lived, Madame la Marquise de Montesson, widow of Louis-Philippe
+d'Orleans.... The next day, putting Brune's sword between my legs and
+Murat's hat upon my head, I galloped around the table; when my father
+said, '_Never forget this, my boy_.'... My father consulted Corvisart, and
+attempted to see the emperor, but Napoleon, the quondam general, had now
+become the emperor, and he refused to see my father.... To where did we
+return? I believe Villers-Cotterets."
+
+Again on the 26th of March, 1813, Dumas entered Paris in company with his
+mother, now widowed. He says of this visit:
+
+"I was delighted at the prospect of this my second visit.... I have but
+one recollection, full of light and poetry, when, with a flourish of
+trumpets, a waving of banners, and shouts of 'Long live the King of Rome,'
+was lifted up above the heads of fifty thousand of the National Guard the
+rosy face and the fair, curly head of a child of three years--the infant
+son of the great Napoleon.... Behind him was his mother,--that woman so
+fatal to France, as have been all the daughters of the C�sars, Anne of
+Austria, Marie Antoinette, and Marie Louise,--an indistinct, insipid
+face.... The next day we started home again."
+
+       *       *       *       *       *
+
+Through the influence of General Foy, an old friend of his father's, Dumas
+succeeded in obtaining employment in the Orleans Bureau at the Palais
+Royal.
+
+His occupation there appears not to have been unduly arduous. The offices
+were in the right-hand corner of the second courtyard of the Palais Royal.
+He remained here in this bureau for a matter of five years, and, as he
+said, "loved the hour when he came to the office," because his immediate
+superior, Lassagne,--a contributor to the _Drapeau Blanc_,--was the friend
+and intimate of D�saugiers, Th�aulon, Armand Gouff�, Brozier, Rougemont,
+and all the vaudevillists of the time.
+
+Dumas' meeting with the Duc d'Orleans--afterward Louis-Philippe--is
+described in his own words thus: "In two words I was introduced. 'My lord,
+this is M. Dumas, whom I mentioned to you, General Foy's prot�g�.' 'You
+are the son of a brave man,' said the duc, 'whom Bonaparte, it seems, left
+to die of starvation.'... The duc gave Oudard a nod, which I took to mean,
+'He will do, he's by no means bad for a provincial.'" And so it was that
+Dumas came immediately under the eye of the duc, engaged as he was at
+that time on some special clerical work in connection with the duc's
+provincial estates.
+
+The affability of Dumas, so far as he himself was concerned, was a
+foregone conclusion. In the great world in which he moved he knew all
+sorts and conditions of men. He had his enemies, it is true, and many of
+them, but he himself was the enemy of no man. To English-speaking folk he
+was exceedingly agreeable, because,--quoting his own words,--said he, "It
+was a part of the debt which I owed to Shakespeare and Scott." Something
+of the egoist here, no doubt, but gracefully done nevertheless.
+
+With his temperament it was perhaps but natural that Dumas should have
+become a romancer. This was of itself, maybe, a foreordained sequence of
+events, but no man thinks to-day that, leaving contributary conditions,
+events, and opportunities out of the question, he shapes his own fate;
+there are accumulated heritages of even distant ages to contend with. In
+Dumas' case there was his heritage of race and colour, refined, perhaps,
+by a long drawn out process, but, as he himself tells in "Mes M�moires,"
+his mother's fear was that her child would be born black, and he _was_,
+or, at least, purple, as he himself afterward put it.
+
+
+
+
+CHAPTER III.
+
+DUMAS' LITERARY CAREER
+
+
+Just how far Dumas' literary ability was an inheritance, or growth of his
+early environment, will ever be an open question. It is a manifest fact
+that he had breathed something of the spirit of romance before he came to
+Paris.
+
+Although it was not acknowledged until 1856, "The Wolf-Leader" was a
+development of a legend told to him in his childhood. Recalling then the
+incident of his boyhood days, and calling into recognition his gift of
+improvisation, he wove a tale which reflected not a little of the open-air
+life of the great forest of Villers-Cotterets, near the place of his
+birth.
+
+Here, then, though it was fifty years after his birth, and thirty after he
+had thrust himself on the great world of Paris, the scenes of his
+childhood were reproduced in a wonderfully romantic and weird
+tale--which, to the best of the writer's belief, has not yet appeared in
+English.
+
+To some extent it is possible that there is not a little of autobiography
+therein, not so much, perhaps, as Dickens put into "David Copperfield,"
+but the suggestion is thrown out for what it may be worth.
+
+It is, furthermore, possible that the historic associations of the town of
+Villers-Cotterets--which was but a little village set in the midst of the
+surrounding forest--may have been the prime cause which influenced and
+inspired the mind of Dumas toward the romance of history.
+
+In point of chronology, among the earliest of the romances were those that
+dealt with the fortunes of the house of Valois (fourteenth century), and
+here, in the little forest town of Villers-Cotterets, was the magnificent
+manor-house which belonged to the Ducs de Valois; so it may be presumed
+that the sentiment of early associations had somewhat to do with these
+literary efforts.
+
+All his life Dumas devotedly admired the sentiment and fancies which
+foregathered in this forest, whose very trees and stones he knew so well.
+From his "M�moires" we learn of his indignation at the destruction of its
+trees and much of its natural beauty. He says:
+
+"This park, planted by Fran�ois I., was cut down by Louis-Philippe. Trees,
+under whose shade once reclined Fran�ois I. and Madame d'Etampes, Henri
+II. and Diane de Poitiers, Henri IV. and Gabrielle d'Estr�es--you would
+have believed that a Bourbon would have respected you. But over and above
+your inestimable value of poetry and memories, you had, unhappily, a
+material value. You beautiful beeches with your polished silvery cases!
+you beautiful oaks with your sombre wrinkled bark!--you were worth a
+hundred thousand crowns. The King of France, who, with his six millions of
+private revenue, was too poor to keep you--the King of France sold you.
+For my part, had you been my sole possession, I would have preserved you;
+for, poet as I am, one thing that I would set before all the gold of the
+earth: the murmur of the wind in your leaves; the shadow that you made to
+flicker beneath my feet; the visions, the phantoms, which, at eventide,
+betwixt the day and night, in the doubtful hour of twilight, would glide
+between your age-long trunks as glide the shadows of the ancient
+Abencerrages amid the thousand columns of Cordova's royal mosque."
+
+What wonder, with these lines before one, that the impressionable Dumas
+was so taken with the romance of life and so impracticable in other ways.
+
+       *       *       *       *       *
+
+From the fact that no thorough biography of Dumas exists, it will be
+difficult to trace the fluctuations of his literary career with
+preciseness. It is not possible even with the twenty closely packed
+volumes of the "M�moires"--themselves incomplete--before one. All that a
+biographer can get from this treasure-house are facts,--rather radiantly
+coloured in some respects, but facts nevertheless,--which are put together
+in a not very coherent or compact form.
+
+They do, to be sure, recount many of the incidents and circumstances
+attendant upon the writing and publication of many of his works, and
+because of this they immediately become the best of all sources of supply.
+It is to be regretted that these "M�moires" have not been translated,
+though it is doubtful if any publisher of English works could get his
+money back from the transaction.
+
+Other clues as to his emotions, and with no uncertain references to
+incidents of Dumas' literary career, are found in "Mes B�tes," "Ange
+Pitou," the "Causeries," and the "Travels." These comprise many volumes
+not yet translated.
+
+
+[Illustration: FACSIMILE OF A MANUSCRIPT PAGE FROM ONE OF DUMAS' PLAYS]
+
+
+Dumas was readily enough received into the folds of the great. Indeed,
+as we know, he made his _entr�e_ under more than ordinary, if not
+exceptional, circumstances, and his connection with the great names of
+literature and statecraft extended from Hugo to Garibaldi.
+
+As for his own predilections in literature, Dumas' own voice is
+practically silent, though we know that he was a romanticist pure and
+simple, and drew no inspiration or encouragement from Voltairian
+sentiments. If not essentially religious, he at least believed in its
+principles, though, as a warm admirer has said, "He had no liking for the
+celibate and bookish life of the churchman."
+
+Dumas does not enter deeply into the subject of ecclesiasticism in France.
+His most elaborate references are to the Abbey of Ste. Genevieve--since
+disappeared in favour of the hideous pagan Panth�on--and its relics and
+associations, in "La Dame de Monsoreau." Other of the romances from time
+to time deal with the subject of religion more or less, as was bound to
+be, considering the times of which he wrote, of Mazarin, Richelieu, De
+Rohan, and many other churchmen.
+
+Throughout the thirties Dumas was mostly occupied with his plays, the
+predominant, if not the most sonorous note, being sounded by "Antony."
+
+As a novelist his star shone brightest in the decade following,
+commencing with "Monte Cristo," in 1841, and continuing through "Le
+Vicomte de Bragelonne" and "La Dame de Monsoreau," in 1847.
+
+During these strenuous years Dumas produced the flower of his romantic
+garland--omitting, of course, certain trivial and perhaps unworthy
+trifles, among which are usually considered, rightly enough, "Le Capitaine
+Paul" (Paul Jones) and "Jeanne d'Arc." At this period, however, he
+produced the charming and exotic "Black Tulip," which has since come to be
+a reality. The best of all, though, are admittedly the Mousquetaire cycle,
+the volumes dealing with the fortunes of the Valois line, and, again,
+"Monte Cristo."
+
+By 1830, Dumas, eager, as it were, to experience something of the valiant
+boisterous spirit of the characters of his romances, had thrown himself
+heartily into an alliance with the opponents of Louis-Philippe. Orleanist
+successes, however, left him to fall back upon his pen.
+
+In 1844, having finished "Monte Cristo," he followed it by "Les Trois
+Mousquetaires," and before the end of the same year had put out forty
+volumes, by what means, those who will read the scurrilous "Fabrique des
+Romans"--and properly discount it--may learn.
+
+The publication of "Monte Cristo" and "Les Trois Mousquetaires" as
+newspaper _feuilletons_, in 1844-45, met with amazing success, and were,
+indeed, written from day to day, to keep pace with the demands of the
+press.
+
+Here is, perhaps, an opportune moment to digress into the ethics of the
+profession of the "literary ghost," and but for the fact that the subject
+has been pretty well thrashed out before,--not only with respect to Dumas,
+but to others as well,--it might justifiably be included here at some
+length, but shall not be, however.
+
+The busy years from 1840-50 could indeed be "explained"--if one were sure
+of his facts; but beyond the circumstances, frequently availed of, it is
+admitted, of Dumas having made use of secretarial assistance in the
+productions which were ultimately to be fathered by himself, there is
+little but jealous and spiteful hearsay to lead one to suppose that he
+made any secret of the fact that he had some very considerable assistance
+in the production of the seven hundred volumes which, at a late period in
+his life, he claimed to have produced.
+
+The "_Maquet affaire_," of course, proclaims the whilom Augustus Mackeat
+as a _collaborateur_; still the ingenuity of Dumas shines forth through
+the warp and woof in an unmistakable manner, and he who would know more
+of the pros and cons is referred to the "_Maison Dumas et Cie_."
+
+Maquet was manifestly what we have come to know as a "hack," though the
+species is not so very new--nor so very rare. The great libraries are full
+of them the whole world over, and very useful, though irresponsible and
+ungrateful persons, many of them have proved to be. Maquet, at any rate,
+served some sort of a useful purpose, and he certainly was a confidant of
+the great romancer during these very years, but that his was the mind and
+hand that evolved or worked out the general plan and detail of the
+romances is well-nigh impossible to believe, when one has digested both
+sides of the question.
+
+An English critic of no inconsiderable knowledge has thrown in his lot
+recently with the claims of Maquet, and given the sole and entire
+production of "Les Trois Mousquetaires," "Monte Cristo," "La Dame de
+Monsoreau," and many other of Dumas' works of this period, to him, placing
+him, indeed, with Shakespeare, whose plays certain gullible persons
+believe to have been written by Bacon. The flaw in the theory is apparent
+when one realizes that the said Maquet was no myth--he was, in fact, a
+very real person, and a literary personage of a certain ability. It is
+strange, then, that if he were the producer of, say "Les Trois
+Mousquetaires," which was issued ostensibly as the work of Dumas, that he
+wrote nothing under his own name that was at all comparable therewith; and
+stranger still, that he was able to repeat this alleged success with
+"Monte Cristo," or the rest of the Mousquetaire series, and yet not be
+able to do the same sort of a feat when playing the game by himself. One
+instance would not prove this contention, but several are likely to not
+only give it additional strength, but to practically demonstrate the
+correct conclusion.
+
+The ethics of plagiarism are still greater and more involved than those
+which make justification for the employment of one who makes a profession
+of _library research_, but it is too involved and too vast to enter into
+here, with respect to accusations of its nature which were also made
+against Dumas.
+
+As that new star which has so recently risen out of the East--Mr.
+Kipling--has said, "They took things where they found them." This is
+perhaps truthful with regard to most literary folk, who are continually
+seeking a new line of thought. Scott did it, rather generously one might
+think; even Stevenson admitted that he was greatly indebted to Washington
+Irving and Poe for certain of the details of "Treasure Island"--though
+there is absolutely no question but that it was a sort of unconscious
+absorption, to put it rather unscientifically. The scientist himself calls
+it the workings of the subconscious self.
+
+As before said, the Maquet _affaire_ was a most complicated one, and it
+shall have no lengthy consideration here. Suffice to say that, when a case
+was made by Maquet in court, in 1856-58, Maquet lost. "It is not justice
+that has won," said Maquet, "but Dumas."
+
+Edmond About has said that Maquet lived to speak kindly of Dumas, "as did
+his legion of other _collaborateurs_; and the proudest of them
+congratulate themselves on having been trained in so good a school." This
+being so, it is hard to see anything very outrageous or preposterous in
+the procedure.
+
+Blaze de Bury has described Dumas' method thus:
+
+"The plot was worked over by Dumas and his colleague, when it was finally
+drafted by the other and afterward _rewritten_ by Dumas."
+
+M. About, too, corroborates Blaze de Bury's statement, so it thus appears
+legitimately explained. Dumas at least supplied the ideas and the
+_esprit_.
+
+In Dumas' later years there is perhaps more justification for the thought
+that as his indolence increased--though he was never actually inert, at
+least not until sickness drew him down--the authorship of the novels
+became more complex. Blaze de Bury put them down to the "Dumas-Legion,"
+and perhaps with some truth. They certainly have not the vim and fire and
+temperament of individuality of those put forth from 1840 to 1850.
+
+Dumas wrote fire and impetuosity into the veins of his heroes, perhaps
+some of his very own vivacious spirit. It has been said that his moral
+code was that of the camp or the theatre; but that is an ambiguity, and it
+were better not dissected.
+
+Certainly he was no prude or Puritan, not more so, at any rate, than were
+Burns, Byron, or Poe, but the virtues of courage, devotion, faithfulness,
+loyalty, and friendship were his, to a degree hardly excelled by any of
+whom the written record of _cameraderie_ exists.
+
+Dumas has been jibed and jeered at by the supercilious critics ever since
+his first successes appeared, but it has not leavened his reputation as
+the first romancer of his time one single jot; and within the past few
+years we have had a revival of the character of true romance--perhaps the
+first _true_ revival since Dumas' time--in M. Rostand's "Cyrano de
+Bergerac."
+
+We have had, too, the works of Zola, who, indomitable, industrious, and
+sincere as he undoubtedly was, will have been long forgotten when the
+masterpieces of Dumas are being read and reread. The Mousquetaire cycle,
+the Valois romances, and "Monte Cristo" stand out by themselves above all
+others of his works, and have had the approbation of such discerning
+fellow craftsmen as George Sand, Thackeray, and Stevenson, all of whom may
+be presumed to have judged from entirely different points of view.
+Thackeray, indeed, plainly indicated his greatest admiration for "La
+Tulipe Noire," a work which in point of time came somewhat later. At this
+time Dumas had built his own Chalet de Monte Cristo near St. Germain, a
+sort of a Gallic rival to Abbotsford. It, and the "Th��tre Historique,"
+founded by Dumas, came to their disastrous end in the years immediately
+following upon the Revolution of 1848, when Dumas fled to Brussels and
+began his "M�moires." He also founded a newspaper called _Le
+Mousquetaire_, which failed, else he might have retrenched and satisfied
+his creditors--at least in part.
+
+He travelled in Russia, and upon his return wrote of his journey to the
+Caspian. In 1860 he obtained an arch�ological berth in Italy, and edited a
+Garibaldian newspaper.
+
+By 1864, the "Director of Excavations at Naples," which was Dumas'
+official title, fell out with the new government which had come in, and he
+left his partisan journal and the lava-beds of Pompeii for Paris and the
+literary arena again; but the virile power of his early years was gone,
+and Dumas never again wielded the same pen which had limned the features
+of Athos, Porthos, Aramis, and D'Artagnan.
+
+In 1844 Dumas participated in a sort of personally-conducted Bonapartist
+tour to the Mediterranean, in company with the son of Jerome Napoleon. On
+this journey Dumas first saw the island of Monte Cristo and the Ch�teau
+d'If, which lived so fervently in his memory that he decided that their
+personality should be incorporated in the famous tale which was already
+formulating itself in his brain.
+
+Again, this time in company with the Duc de Montpensier, he journeyed to
+the Mediterranean, "did" Spain, and crossed over to Algiers. When he
+returned he brought back the celebrated vulture, "Jugurtha," whose fame
+was afterward perpetuated in "Mes B�tes."
+
+That there was a deal of reality in the characterization and the locale of
+Dumas' romances will not be denied by any who have acquaintance
+therewith. Dumas unquestionably took his material where he found it, and
+his wonderfully retentive memory, his vast capacity for work, and his wide
+experience and extensive acquaintance provided him material that many
+another would have lacked.
+
+M. de Chaffault tells of his having accompanied Dumas by road from Sens to
+Joigny, Dumas being about to appeal to the republican constituency of that
+place for their support of him as a candidate for the parliamentary
+elections.
+
+"In a short time we were on the road," said the narrator, "and the first
+stage of three hours seemed to me only as many minutes. Whenever we passed
+a country-seat, out came a lot of anecdotes and legends connected with its
+owners, interlarded with quaint fancies and epigrams."
+
+Aside from the descriptions of the country around about Cr�py, Compi�gne,
+and Villers-Cotterets which he wove into the Valois tales, "The Taking of
+the Bastille," and "The Wolf-Leader," there is a strong note of
+personality in "Georges;" some have called it autobiography.
+
+The tale opens in the far-distant Isle of France, called since the English
+occupation Mauritius, and in the narrative of the half-caste Georges
+Munier are supposed to be reflected many of the personal incidents of the
+life of the author.
+
+This story may or may not be a mere repetition of certain of the incidents
+of the struggle of the mulatto against the barrier of the white
+aristocracy, and may have been an echo in Dumas' own life. It is repeated
+it may have been this, or it may have been much more. Certain it is, there
+is an underlying motive which could only have been realized to the full
+extent expressed therein by one who knew and felt the pangs of the
+encounter with a world which only could come to one of genius who was by
+reason of race or creed outclassed by his contemporaries; and therein is
+given the most vivid expression of the rise of one who had everything
+against him at the start.
+
+This was not wholly true of Dumas himself, to be sure, as he was endowed
+with certain influential friends. Still it was mainly through his own
+efforts that he was able to prevail upon the old associates and friends of
+the dashing General Dumas, his father, to give him his first lift along
+the rough and stony literary pathway.
+
+In this book there is a curious interweaving of the life and colour which
+may have had not a little to do with the actual life which obtained with
+respect to his ancestors, and as such, and the various descriptions of
+negro and Creole life, the story becomes at once a document of prime
+interest and importance.
+
+Since Dumas himself has explained and justified the circumstance out of
+which grew the conception of the D'Artagnan romances, it is perhaps
+advisable that some account should be given of the original D'Artagnan.
+
+Primarily, the interest in Dumas' romance of "Les Trois Mousquetaires" is
+as great, if not greater, with respect to the characters as it is with the
+scenes in which they lived and acted their strenuous parts. In addition,
+there is the profound satisfaction of knowing that the rollicking and
+gallant swashbuckler has come down to us from the pages of real life, as
+Dumas himself recounts in the preface to the Colman L�vy edition of the
+book. The statement of Dumas is explicit enough; there is no mistaking his
+words which open the preface:
+
+                        "Dans laquelle
+      Il est �tabli que, malgr� leurs noms en _os_ et en _is_,
+                    Les h�ros de l'histoire
+  Que nous allons avoir l'honneur de raconter � nos lecteurs
+                N'ont rien de mythologique."
+
+The contemporary facts which connect the real Comte d'Artagnan with
+romances are as follows:
+
+Charles de Batz de Castlemore, Comte d'Artagnan, received his title
+from the little village of Artagnan, near the Gascon town of Orthez in the
+present department of the Hautes-Pyr�n�es. He was born in 1623. Dumas,
+with an author's license, made his chief figure a dozen years older, for
+the real D'Artagnan was but five years old at the time of the siege of La
+Rochelle of which Dumas makes mention. On the whole, the romance is near
+enough to reality to form an ample endorsement of the author's verity.
+
+
+[Illustration: D'ARTAGNAN]
+
+
+The real D'Artagnan made his way to Paris, as did he of the romance. Here
+he met his fellow B�arnais, one M. de Treville, captain of the king's
+musketeers, and the illustrious individuals, _Armand de Sillegue d'Athos_,
+a B�arnais nobleman who died in 1645, and whose direct descendant, Colonel
+de Sillegue, commanded, according to the French army lists of a recent
+date, a regiment of French cavalry; _Henry d'Aramitz_, lay abb� of Oloron;
+and _Jean de Portu_, all of them probably neighbours in D'Artagnan's old
+home.
+
+D'Artagnan could not then have been at the siege of La Rochelle, but from
+the "M�moires de M. d'Artagnan," of which Dumas writes in his preface, we
+learn of his feats at arms at Arras, Valenciennes, Douai, and Lille, all
+places where once and again Dumas placed the action of the novels.
+
+The real D'Artagnan died, sword in hand, "in the imminent deadly breach"
+at Maestricht, in 1673. He served, too, under Prince Rupert in the Civil
+War, and frequently visited England, where he had an _affaire_ with a
+certain Milady, which is again reminiscent of the pages of Dumas.
+
+This D'Artagnan in the flesh married Charlotte Anne de Chanlecy, and the
+last of his direct descendants died in Paris in the latter years of the
+eighteenth century, but collateral branches of the family appear still to
+exist in Gascony, and there was a certain Baron de Batz, a B�arnais, who
+made a daring attempt to save Marie Antoinette in 1793.
+
+The inception of the whole work in Dumas' mind, as he says, came to him
+while he was making research in the "Biblioth�que Royale" for his history
+of Louis XIV.
+
+Thus from these beginnings grew up that series of romances which gave
+undying fame to Alexandre Dumas, and to the world of readers a series of
+characters and scenes associated with the medi�val history of France,
+which, before or since, have not been equalled.
+
+Alexandre Dumas has been described as something of the soldier, the cook,
+and the traveller, more of the journalist, diplomatist, and poet, and,
+more than all else, the dramatist, romancer, and _raconteur_. He himself
+has said that he was a "veritable Wandering Jew of literature."
+
+His versatility in no way comprised his abilities, and, while conceit and
+egoism played a not unimportant share in his make-up, his affability--when
+he so chose--caused him to be ranked highly in the estimation of his
+equals and contemporaries. By the cur-dogs, which always snap at the heels
+of a more splendid animal, he was not ranked so high.
+
+Certain of these were for ever twitting him publicly of his creed, race,
+and foibles. It is recorded by Theodore de Bauville, in his "Odes," that
+one Jacquot hailed Dumas in the open street with a ribald jeer, when,
+calmly turning to his detractor, Dumas said, simply: "Hast thou dined
+to-day, Jacquot?" Then it was that this said Jacquot published the
+slanderous brochure, "_La Maison Dumas et Cie_," which has gone down as
+something considerable of a sensation in the annals of literary history;
+so much so, indeed, that most writers who have had occasion to refer to
+Dumas' literary career have apparently half-believed its accusations,
+which, truth to tell, may have had some bearing on "things as they were,"
+had they but been put forward as a bit of temperate criticism rather than
+as a sweeping condemnation.
+
+To give the reader an idea of the Dumas of 1840, one can scarcely do
+better than present his portrait as sketched by De Villemessant, the
+founder and brilliant editor of the _Figaro_, when Dumas was at the height
+of his glory, and a grasp of his hand was better than a touch of genius to
+those receiving it:
+
+"At no time and among no people had it till then been granted to a writer
+to achieve fame in every direction; in serious drama and in comedy, and
+novels of adventure and of domestic interest, in humourous stories and in
+pathetic tales, Alexandre Dumas had been alike successful. The frequenters
+of the Th��tre Fran�ais owed him evenings of delight, but so did the
+general public as well. Dumas alone had had the power to touch, interest,
+or amuse, not only Paris or France, but the whole world. If all other
+novelists had been swallowed up in an earthquake, this one would have been
+able to supply the leading libraries of Europe. If all other dramatists
+had died, Alexandre Dumas could have occupied every stage; his magic name
+on a playbill or affixed to a newspaper _feuilleton_ ensured the sale of
+that issue or a full house at the theatre. He was king of the stage,
+prince of _feuilletonists_, _the_ literary man _par excellence_, in that
+Paris then so full of intellect. When he opened his lips the most
+eloquent held their breath to listen; when he entered a room the wit of
+man, the beauty of woman, the pride of life, grew dim in the radiance of
+his glory; he reigned over Paris in right of his sovereign intellect, the
+only monarch who for an entire century had understood how to draw to
+himself the adoration of all classes of society, from the Faubourg St.
+Germain to the Batignolles.
+
+"Just as he united in himself capabilities of many kinds, so he displayed
+in his person the perfection of many races. From the negro he had derived
+the frizzled hair and those thick lips on which Europe had laid a delicate
+smile of ever-varying meaning; from the southern races he derived his
+vivacity of gesture and speech, from the northern his solid frame and
+broad shoulders and a figure which, while it showed no lack of French
+elegance, was powerful enough to have made green with envy the gentlemen
+of the Russian Life-Guards."
+
+Dumas' energy and output were tremendous, as all know. It is recorded that
+on one occasion,--in the later years of his life, when, as was but
+natural, he had tired somewhat,--after a day at _la chasse_, he withdrew
+to a cottage near by to rest until the others should rejoin him, after
+having finished their sport. This they did within a reasonably short
+time,--whether one hour or two is not stated with definiteness,--when
+they found him sitting before the fire "twirling his thumbs." On being
+interrogated, he replied that he had not been sitting there long; _in
+fact, he had just written the first act of a new play_.
+
+The French journal, _La Revue_, tells the following incident, which sounds
+new. Some years before his death, Dumas had written a somewhat quaint
+letter to Napoleon III., apropos of a play which had been condemned by the
+French censor. In this epistle he commenced:
+
+"SIRE:--In 1830, and, indeed, even to-day, there are three men at the head
+of French literature. These three men are Victor Hugo, Lamartine, and
+myself. Although I am the least of the three, the five continents have
+made me the most popular, probably because the one was a thinker, the
+other a dreamer, while I am merely a writer of commonplace tales."
+
+This letter goes on to plead the cause of his play, and from this
+circumstance the censorship was afterward removed.
+
+A story is told of an incident which occurred at a rehearsal of "Les Trois
+Mousquetaires" at the "Ambigu." This story is strangely reminiscent of
+another incident which happened at a rehearsal of Hal�vy's "Guido et
+G�nevra," but it is still worth recounting here, if only to emphasize the
+indomitable energy and perspicacity of Dumas.
+
+It appears that a _pompier_--that gaudy, glistening fireman who is always
+present at functions of all sorts on the continent of Europe--who was
+watching the rehearsal, was observed by Dumas to suddenly leave his point
+of vantage and retire. Dumas followed him and inquired his reason for
+withdrawing. "What made you go away?" Dumas asked of him. "Because that
+last act did not interest me so much as the others," was the answer.
+Whereupon Dumas sent for the prompt-book and threw that portion relating
+to that particular tableau into the fire, and forthwith set about to
+rewrite it on the spot. "It does not amuse the _pompier_," said Dumas,
+"but I know what it wants." An hour and a half later, at the finish of the
+rehearsal, the actors were given their new words for the seventh tableau.
+
+In spite of the varied success with which his plays met, Dumas was, we may
+say, first of all a dramatist, if construction of plot and the moving
+about of dashing and splendid figures counts for anything; and it most
+assuredly does.
+
+This very same qualification is what makes the romances so vivid and
+thrilling; and they do not falter either in accessory or fact.
+
+The cloaks of his swashbucklering heroes are always the correct shade of
+scarlet; their rapiers, their swords, or their pistols are always rightly
+tuned, and their entrances and their exits correctly and most
+appropriately timed.
+
+When his characters represent the poverty of a tatterdemalion, they do it
+with a sincerity that is inimitable, and the lusty throatings of a
+D'Artagnan are never a hollow mockery of something they are not.
+
+Dumas drew his characters of the stage and his personages of the romances
+with the brilliance and assurance of a Velasquez, rather than with the
+finesse of a Praxiteles, and for that reason they live and introduce
+themselves as cosmopolitans, and are to be appreciated only as one studies
+or acquires something of the spirit from which they have been evolved.
+
+Of Dumas' own uproarious good nature many have written. Albert Vandam
+tells of a certain occasion when he went to call upon the novelist at St.
+Germain,--and he reckoned Dumas the most lovable and genial among all of
+his host of acquaintances in the great world of Paris,--that he overheard,
+as he was entering the study, "a loud burst of laughter." "I had sooner
+wait until monsieur's visitors are gone," said he. "Monsieur has no
+visitors," said the servant. "Monsieur often laughs like that at his
+work."
+
+Dumas as a man of affairs or as a politician was not the success that he
+was in the world of letters. His activities were great, and his enthusiasm
+for any turn of affairs with which he allied himself remarkable; but,
+whether he was _en voyage_ on a whilom political mission, at work as
+"Director of Excavations" at Pompeii, or founding or conducting a new
+journal or a new playhouse, his talents were manifestly at a discount. In
+other words, he was singularly unfit for public life; he was not an
+organizer, nor had he executive ability, though he had not a little of the
+skill of prophecy and foresight as to many turns of fortune's wheel with
+respect to world power and the comity of nations.
+
+Commenting upon the political state of Europe, he said: "Geographically,
+Prussia has the form of a serpent, and, like it, she appears to be asleep,
+in order to gain strength to swallow everything around her." All of his
+prophecy was not fulfilled, to be sure, but a huge slice was fed into her
+maw from out of the body of France, and, looking at things at a time fifty
+years ahead of that of which Dumas wrote,--that is, before the
+Franco-Prussian War,--it would seem as though the serpent's appetite was
+still unsatisfied.
+
+In 1847, when Dumas took upon himself to wish for a seat in the
+government, he besought the support of the constituency of the borough in
+which he had lived--St. Germain. But St. Germain denied it him--"on moral
+grounds." In the following year, when Louis-Philippe had abdicated, he
+made the attempt once again.
+
+The republican constituency of Joigny challenged him with respect to his
+title of Marquis de la Pailleterie, and his having been a secretary in the
+Orleans Bureau. The following is his reply--verbatim--as publicly
+delivered at a meeting of electors, and is given here as illustrating well
+the earnestness and devotion to a code which many Puritan and prudish
+moralists have themselves often ignored:
+
+"I was formerly called the Marquis de la Pailleterie, no doubt. It was my
+father's name, and one of which I was very proud, being then unable to
+claim a glorious one of my own make. But at present, when I am somebody, I
+call myself Alexandre Dumas, and nothing more; and every one knows me,
+yourselves among the rest--you, you absolute nobodies, who have come here
+merely to boast, to-morrow, after having given me insult to-night, that
+you have known the great Dumas. If such were your avowed ambition, you
+could have satisfied it without having failed in the common courtesies of
+gentlemen. There is no doubt, either, about my having been a secretary to
+the Duc d'Orleans, and that I have received many favours from his family.
+If you are ignorant of the meaning of the phrase, 'The memories of the
+heart,' allow me, at least, to proclaim loudly that I am not, and that I
+entertain toward this family of royal blood all the devotion of an
+honourable man."
+
+       *       *       *       *       *
+
+That Dumas was ever accused of making use of the work of others, of
+borrowing ideas wherever he found them, and, indeed, of plagiarism
+itself,--which is the worst of all,--has been mentioned before, and the
+argument for or against is not intended to be continued here.
+
+Dumas himself has said much upon the subject in defence of his position,
+and the contemporary scribblers of the time have likewise had their
+say--and it was not brief; but of all that has been written and said, the
+following is pertinent and deliciously na�ve, and, coming from Dumas
+himself, has value:
+
+"One morning I had only just opened my eyes when my servant entered my
+bedroom and brought me a letter upon which was written the word _urgent_.
+He drew back the curtains; the weather--doubtless by some mistake--was
+fine, and the brilliant sunshine entered the room like a conqueror. I
+rubbed my eyes and looked at the letter to see who had sent it, astonished
+at the same time that there should be only one. The handwriting was quite
+unknown to me. Having turned it over and over for a minute or two, trying
+to guess whose the writing was, I opened it and this is what I found:
+
+     "'SIR:--I have read your "Three Musketeers," being well to do, and
+     having plenty of spare time on my hands--'
+
+     "('Lucky fellow!' said I; and I continued reading.)
+
+     "'I admit that I found it fairly amusing; but, having plenty of time
+     before me, I was curious enough to wish to know if you really did
+     find them in the "Memoirs of M. de La F�re." As I was living in
+     Carcassonne, I wrote to one of my friends in Paris to go to the
+     Biblioth�que Royale, and ask for these memoirs, and to write and let
+     me know if you had really and truly borrowed your facts from them. My
+     friend, whom I can trust, replied that you had copied them word for
+     word, and that it is what you authors always do. So I give you fair
+     notice, sir, that I have told people all about it at Carcassonne,
+     and, if it occurs again, we shall cease subscribing to the _Si�cle_.
+
+          "'Yours sincerely,
+              "'----.'
+
+"I rang the bell.
+
+"'If any more letters come for me to-day,' said I to the servant, 'you
+will keep them back, and only give them to me sometime when I seem a bit
+too happy.'
+
+"'Manuscripts as well, sir?'
+
+"'Why do you ask that question?'
+
+"'Because some one has brought one this very moment.'
+
+"'Good! that is the last straw! Put it somewhere where it won't be lost,
+but don't tell me where.'
+
+"He put it on the mantelpiece, which proved that my servant was decidedly
+a man of intelligence.
+
+"It was half-past ten; I went to the window. As I have said, it was a
+beautiful day. It appeared as if the sun had won a permanent victory over
+the clouds. The passers-by all looked happy, or, at least, contented.
+
+"Like everybody else, I experienced a desire to take the air elsewhere
+than at my window, so I dressed, and went out.
+
+"As chance would have it--for when I go out for a walk I don't care
+whether it is in one street or another--as chance would have it, I say, I
+passed the Biblioth�que Royale.
+
+"I went in, and, as usual, found P�ris, who came up to me with a charming
+smile.
+
+"'Give me,' said I, 'the "Memoirs of La F�re."'
+
+"He looked at me for a moment as if he thought I was crazy; then, with the
+utmost gravity, he said, 'You know very well they don't exist, because you
+said yourself they did!'
+
+"His speech, though brief, was decidedly pithy.
+
+"By way of thanks I made P�ris a gift of the autograph I had received from
+Carcassonne.
+
+"When he had finished reading it, he said, 'If it is any consolation to
+you to know it, you are not the first who has come to ask for the "Memoirs
+of La F�re"; I have already seen at least thirty people who came solely
+for that purpose, and no doubt they hate you for sending them on a fool's
+errand.'
+
+"As I was in search of material for a novel, and as there are people who
+declare novels are to be found ready-made, I asked for the catalogue.
+
+"Of course, I did not discover anything."
+
+       *       *       *       *       *
+
+Every one knows of Dumas' great fame as a gastronome and epicure; some
+recall, also, that he himself was a _cuisinier_ of no mean abilities. How
+far his capacities went in this direction, and how wide was his knowledge
+of the subject, can only be gleaned by a careful reading of his great
+"Dictionnaire de Cuisine." Still further into the subject he may be
+supposed to have gone from the fact that he also published an inquiry, or
+an open letter, addressed to the _gourmands_ of all countries, on the
+subject of mustard.
+
+It is an interesting subject, to be sure, but a trifling one for one of
+the world's greatest writers to spend his time upon; say you, dear reader?
+Well! perhaps! But it is a most fascinating contribution to the literature
+of epicurism, and quite worth looking up and into. The history of the
+subtle spice is traced down through Biblical and Roman times to our own
+day, chronologically, etymologically, botanically, and practically. It
+will be, and doubtless has been, useful to other compilers of essays on
+good cheer.
+
+Whatever may be the subtle abilities which make the true romancer, or
+rather those which make his romances things of life and blood, they were
+possessed by Alexandre Dumas.
+
+Perhaps it is the more easy to construct a romantic play than it is to
+erect, from matter-of-fact components, a really engrossing romantic novel.
+Dumas' abilities seem to fit in with both varieties alike, and if he did
+build to order, the result was in most cases no less successful than if
+evolved laboriously.
+
+It is a curious fact that many serial contributions--if we are to believe
+the literary gossip of the time--are only produced as the printer is
+waiting for copy. The formula is manifestly not a good one upon which to
+build, but it has been done, and successfully, by more writers than one,
+and with scarce a gap unbridged.
+
+Dickens did it,--if it is allowable to mention him here,--and Dumas
+himself did it,--many times,--and with a wonderful and, one may say,
+inspired facility, but then his facility, none the less than his vitality,
+made possible much that was not granted to the laborious Zola.
+
+Dumas was untiring to the very last. His was a case of being literally
+worked out--not worked to death, which is quite a different thing.
+
+It has been said by Dumas _fils_ that in the latter years of the elder's
+life he would sit for length upon length of time, pen in hand, and not a
+word would flow therefrom, ere the ink had dried.
+
+An interesting article on Dumas' last days appeared in _La Revue_ in 1903.
+It dealt with the sadness and disappointments of Dumas' later days, in
+spite of which the impression conveyed of the great novelist's
+personality is very vivid, and he emerges from it much as his books would
+lead one to expect--a hearty, vigorous creature, surcharged with vitality,
+with desire to live and let live, a man possessed of almost equally
+prominent faults and virtues, and generous to a fault.
+
+
+[Illustration: Alexandre Dumas, Fils]
+
+
+Money he had never been able to keep. He had said himself, at a time when
+he was earning a fortune, "I can keep everything but money. Money
+unfortunately always slips through my fingers." The close of his life was
+a horrible struggle to make ends meet. When matters came to a crisis Dumas
+would pawn some of the valuable _objets d'art_ he had collected in the
+opulent past, or ask his son for assistance. But, though the sum asked was
+always given, there were probably few things which the old man would not
+have preferred to this appeal to the younger author.
+
+As he grew old, Dumas _p�re_ became almost timid in his attitude toward
+the son, whose disapproval had frequently found expression in advice and
+warning. But Dumas could not settle down, and he could not become careful.
+Neither of these things was in his nature, and there was consequently
+always some little undercurrent of friction between them. To the end of
+his days his money was anybody's who liked to come and ask for it, and
+nothing but the final clouding of his intellectual capacity could reduce
+his optimism. Then, it is true, he fell into a state of sustained
+depression. The idea that his reputation would not last haunted him.
+
+In 1870, when Dumas was already very ill, his son, anxious that he should
+not be in Paris during its investment by the Germans, took him to a house
+he had at Puys, near Dieppe. Here the great man rapidly sank, and, except
+at meal-times, passed his time in a state of heavy sleep, until a sudden
+attack of apoplexy finally seized him. He never rallied after it, and died
+upon the day the Prussian soldiers took possession of Dieppe.
+
+Many stories are rife of Dumas the prodigal. Some doubtless are true, many
+are not. Those which he fathers himself, we might well accept as being
+true. Surely he himself should know.
+
+The following incident which happened in the last days of his life
+certainly has the ring of truth about it.
+
+When in his last illness he left Paris for his son's country house near
+Dieppe, he had but twenty francs, the total fortune of the man who had
+earned millions.
+
+On arriving at Puys, Dumas placed the coin on his bedroom chimneypiece,
+and there it remained all through his illness.
+
+One day he was seated in his chair near the window, chatting with his son,
+when his eye fell on the gold piece.
+
+A recollection of the past crossed his mind.
+
+"Fifty years ago, when I went to Paris," he said, "I had a louis. Why have
+people accused me of prodigality? I have always kept that louis.
+See--there it is."
+
+And he showed his son the coin, smiling feebly as he did so.
+
+
+
+
+CHAPTER IV.
+
+DUMAS' CONTEMPORARIES
+
+
+Among those of the world's great names in literature contemporary with
+Dumas, but who knew Paris ere he first descended upon it to try his
+fortune in its arena of letters, were Lamartine, who already, in 1820, had
+charmed his public with his "Meditations;" Hugo, who could claim but
+twenty years himself, but who had already sung his "Odes et Ballades," and
+Chateaubriand.
+
+Souli� and De Vigny won their fame with poems and plays in the early
+twenties, De Musset and Ch�nier followed before a decade had passed, and
+Gautier was still serving his apprenticeship.
+
+It was the proud Goethe who said of these young men of the twenties, "They
+all come from Chateaubriand." B�ranger, too, "the little man," even though
+he was drawing on toward the prime of life, was also singing melodiously:
+it was his _chansons_, it is said, that upset the Bourbon throne and
+made way for the "citizen-king." Nodier, of fanciful and fantastic rhyme,
+was already at work, and M�rim�e had not yet taken up the administrative
+duties of overseeing the preserving process which at his instigation was,
+at the hands of a paternal government, being applied to the historical
+architectural monuments throughout France; a glory which it is to be
+feared has never been wholly granted to M�rim�e, as was his due.
+
+
+[Illustration: TWO FAMOUS CARICATURES OF ALEXANDRE DUMAS]
+
+
+Guizot, the _b�te noire_ of the later Louis-Philippe, was actively writing
+from 1825 to 1830, and his antagonist, Thiers, was at the same period
+producing what Carlyle called the "voluminous and untrustworthy labours of
+a brisk little man in his way;" which recalls to mind the fact that
+Carlylean rant--like most of his prose--is a well-nigh insufferable thing.
+
+At this time Mignet, the historian, was hard at work, and St. Beauve had
+just deserted _materia medica_ for literature. Michelet's juvenile
+histories were a production of the time, while poor, unhonoured, and then
+unsung, Balzac was grinding out his pittance--in after years to grow into
+a monumental literary legacy--in a garret.
+
+Eug�ne Sue had not yet taken to literary pathways, and was scouring the
+seas as a naval surgeon.
+
+The drama was prolific in names which we have since known as masters,
+Scribe, Hal�vy, and others.
+
+George Sand, too, was just beginning that grand literary life which opened
+with "Indiana" in 1832, and lasted until 1876. She, like so many of the
+great, whose name and fame, like Dumas' own, has been perpetuated by a
+monument in stone, the statue which was unveiled in the little town of her
+birth on the Indre, La Ch�tre, in 1903.
+
+Like Dumas, too, hers was a cyclopean industry, and so it followed that in
+the present twentieth century (in the year 1904), another and a more
+glorious memorial to France's greatest woman writer was unveiled in the
+Garden of the Luxembourg.
+
+Among the women famous in the _monde_ of Paris at the time of Dumas'
+arrival were Mesdames Desbordes-Valmore, Amable Tastu, and Delphine Gay.
+
+"For more than half a century this brilliant group of men and women
+sustained the world of ideas and poetry," said Dumas, in his "M�moires,"
+"and I, too," he continued, "have reached the same plane ... unaided by
+intrigue or coterie, and using none other than my own work as the
+stepping-stone in my pathway."
+
+Dumas cannot be said to have been niggardly with his praise of the work of
+others. He said of a sonnet of Arnault's--"La Feuille"--that it was a
+masterpiece which an Andr� Ch�nier, a Lamartine, or a Hugo might have
+envied, and that for himself, not knowing what his "literary brothers"
+might have done, he would have given for it "any one of his dramas."
+
+It was into the office of Arnault, who was chief of a department in the
+Universit�, that B�ranger took up his labours as a copying-clerk,--as did
+Dumas in later years,--and it was while here that B�ranger produced his
+first ballad, the "Roi d'Yvetot."
+
+In 1851 Millet was at his height, if one considers what he had already
+achieved by his "great agrarian poems," as they have been called. Gautier
+called them "Georgics in paint," and such they undoubtedly were. Millet
+would hardly be called a Parisian; he was not of the life of the city, but
+rather of that of the countryside, by his having settled down at Barbizon
+in 1849, and practically never left it except to go to Paris on business.
+
+His life has been referred to as one of "sublime monotony," but it was
+hardly that. It was a life devoted to the telling of a splendid story,
+that of the land as contrasted with that of the paved city streets.
+
+Corot was a real Parisian, and it was only in his early life in the
+provinces that he felt the bitterness of life and longed for the
+flagstones of the quais, for the Tuileries, the Seine, and his beloved Rue
+de Bac, where he was born on 10th Thermidor, Year IV. (July 28, 1796).
+Corot early took to painting the scenes of the metropolis, as we learn
+from his biography, notably at the point along the river bank where the
+London steamer moors to-day. But these have disappeared; few or none of
+his juvenile efforts have come down to us.
+
+Corot returned to Paris, after many years spent in Rome, during the reign
+of Louis-Philippe, when affairs were beginning to stir themselves in
+literature and art. In 1839 his "Site d'Italie" and a "Soir" were shown at
+the annual Salon,--though, of course, he had already been an exhibitor
+there,--and inspired a sonnet of Th�ophile Gautier, which concludes:
+
+  "Corot, ton nom modest, �crit dans un coin noir."
+
+Corot's pictures _were_ unfortunately hung in the darkest corners--for
+fifteen years. As he himself has said, it was as if he were in the
+catacombs. In 1855 Corot figured as one of the thirty-four judges
+appointed by Napoleon III. to make the awards for paintings exhibited in
+the world's first Universal Exhibition. It is not remarked that Corot had
+any acquaintance or friendships with Dumas or with Victor Hugo, of whom he
+remarked, "This Victor Hugo seems to be pretty famous in literature." He
+knew little of his contemporaries, and the hurly-burly knew less of him.
+He was devoted, however, to the genius of his superiors--as he doubtless
+thought them. Of Delacroix he said one day, "He is an eagle, and I am only
+a lark singing little songs in gray clouds."
+
+A literary event of prime importance during the latter years of Dumas'
+life in Paris, when his own purse was growing thin, was the publication of
+the "Histoire de Jules C�sar," written by Napoleon III.
+
+Nobody ever seems to have taken the second emperor seriously in any of his
+finer expressions of sentiment, and, as may be supposed, the publication
+of this immortal literary effort was the occasion of much sarcasm, banter,
+violent philippic, and sardonic criticism.
+
+Possibly the world was not waiting for this work, but royalty, no less
+than other great men, have their hobbies and their fads; Nero fiddled, and
+the first Napoleon read novels and threw them forthwith out of the
+carriage window, so it was quite permissible that Napoleon III. should
+have perpetuated this life history of an emperor whom he may justly and
+truly have admired--perhaps envied, in a sort of impossible way.
+
+Already Louis Napoleon's collection of writings was rather voluminous, so
+this came as no great surprise, and his literary reputation was really
+greater than that which had come to him since fate made him the master of
+one of the foremost nations of Europe.
+
+From his critics we learn that "he lacked the grace of a popular author;
+that he was quite incapable of interesting the reader by a charm of
+manner; and that his _style_ was meagre, harsh, and grating, but
+epigrammatic." No Frenchman could possibly be otherwise.
+
+Dumas relates, again, the story of Sir Walter Scott's visit to Paris,
+seeking documents which should bear upon the reign of Napoleon. Dining
+with friends one evening, he was invited the next day to dine with Barras.
+But Scott shook his head. "I cannot dine with that man," he replied. "I
+shall write evil of him, and people in Scotland would say that I have
+flung the dishes from his own table at his head."
+
+It is not recorded that Dumas' knowledge of swordsmanship was based on
+practical experience, but certainly no more scientific sword-play of
+_passe_ and _touche_ has been put into words than that wonderful attack
+and counter-attack in the opening pages of "Les Trois Mousquetaires."
+
+Of the _duel d'honneur_ there is less to be said, though Dumas more than
+once sought to reconcile estranged and impetuous spirits who would have
+run each other through, either by leaden bullet or the sword. A notable
+instance of this was in the memorable _affaire_ between Louis Blanc of
+_L'Homme-Libre_ and Dujarrier-Beauvallon of _La Presse_. The latter told
+Dumas that he had no alternative but to fight, though he went like a lamb
+to the slaughter, and had no knowledge of the _code_ nor any skill with
+weapons.
+
+Dumas _p�re_ was implored by the younger Dumas--both of whom took
+Dujarrier's interests much to heart--to go and see Grisier and claim his
+intervention. "I cannot do it," said the elder; "the first and foremost
+thing to do is to safeguard his reputation, which is the more precious
+because it is his first duel." The Grisier referred to was the great
+master of fence of the time who was immortalized by Dumas in his "Ma�tre
+d'Armes."
+
+Dumas himself is acknowledged, however, on one occasion, at least, to
+have acted as second--co-jointly with General Fleury--in an _affaire_
+which, happily, never came off.
+
+It was this Blanc-Dujarrier duel which brought into further prominent
+notice that most remarkable and quasi-wonderful woman, Lola Montez; that
+daughter of a Spaniard and a Creole, a native of Limerick, pupil of a
+boarding-school at Bath, and one-time resident of Seville; to which may be
+added, on the account of Lord Malmesbury, "The woman who in Munich set
+fire to the magazine of revolution which was ready to burst forth all over
+Europe."
+
+She herself said that she had also lived in Calcutta as the wife of an
+officer in the employ of the East India Company; had at one time been
+reduced to singing in the streets at Brussels; had danced at the Italian
+Opera in London,--"not much, but as well as half the ugly wooden women who
+were there,"--and had failed as a dancer in Warsaw.
+
+"This illiterate schemer," says Vandam, "who probably knew nothing of
+geography or history, had pretty well the Almanach de Gotha by heart."
+"Why did I not come earlier to Paris?" she once said. "What was the good?
+There was a king there bourgeois to his finger-nails, tight-fisted
+besides, and notoriously the most moral and the best father in all the
+world."
+
+This woman, it seems, was a beneficiary in the testament of Dujarrier, who
+died as a result of his duel, to the extent of eighteen shares in the
+Th��tre du Palais Royal, and in the trial which followed at Rouen, at
+which were present all shades and degrees of literary and professional
+people, Dumas, Gustave Flaubert, and others, she insisted upon appearing
+as a witness, for no reason whatever, apparently, than that of further
+notoriety. "Six months from this time," as one learns from Vandam, "her
+name was almost forgotten by all of us except Alexandre Dumas, who once
+and again alluded to her." "Though far from superstitious, Dumas, who had
+been as much smitten with her as most of her admirers, avowed that he was
+glad that she had disappeared. 'She has the evil eye,' said he, 'and is
+sure to bring bad luck to any one who closely links his destiny with
+hers.'"
+
+There is no question but that Dumas was right, for she afterward--to
+mention but two instances of her remarkably active career--brought
+disaster "most unkind" upon Louis I. of Bavaria; committed bigamy with an
+English officer who was drowned at Lisbon; and, whether in the guise of
+lovers or husbands, all, truly, who became connected with her met with
+almost immediate disaster.
+
+The mere mention of Lola Montez brings to mind another woman of the same
+category, though different in character, Alphonsine Plessis, more
+popularly known as La Dame aux Cam�lias. She died in 1847, and her name
+was not Marie or Margu�rite Duplessis, but as above written.
+
+Dumas _fils_ in his play did not idealize Alphonsine Plessis' character;
+indeed, Dumas _p�re_ said that he did not even enlarge or exaggerate any
+incident--all of which was common property in the _demi-monde_--"save that
+he ascribed her death to any cause but the right one." "I know he made use
+of it," said the father, "but he showed the malady aggravated by Duval's
+desertion."
+
+We learn that the elder Dumas "wept like a baby" over the reading of his
+son's play. But his tears did not drown his critical faculty. "At the
+beginning of the third act," said Dumas _p�re_, "I was wondering how
+Alexandre would get his Margu�rite back to town, ... but the way Alexandre
+got out of the difficulty proves that he is my son, every inch of him, and
+at the very outset of his career he is a better dramatist than I am ever
+likely to be."
+
+"Alphonsine Plessis was decidedly a real personage, but not an ordinary
+one in her walk of life," said Doctor V�ron. "A woman of her refinement
+might not have been impossible in a former day, because the grisette--and
+subsequently the _femme entretenue_--was not then even surmised. She
+interests me much; she is the best dressed woman in Paris, she neither
+conceals nor hides her vices, and she does not continually hint about
+money; in short, she is wonderful."
+
+"La Dame aux Cam�lias" appeared within eighteen months of the actual death
+of the heroine, and went into every one's hands, interest being whetted
+meanwhile by the recent event, and yet more by much gossip--scandal if you
+will--which universally appeared in the Paris press. Her pedigree was
+evolved and diagnosed by Count G. de Contades in a French bibliographical
+journal, _Le Livre_, which showed that she was descended from a
+"_gu�nuchetonne_" (slattern) of Long�, in the canton of Brionze, near
+Alen�on; a predilection which the elder Dumas himself had previously put
+forth when he stated that, "I am certain that one might find taint either
+on the father's side, or on the mother's, probably on the former's, but
+more probably still on both."
+
+The following eulogy, extracted from a letter written to Dumas _fils_ by
+Victor Hugo upon the occasion of the inhumation of the ashes of Alexandre
+Dumas at Villers-Cotterets, whither they were removed from Puits, shows
+plainly the esteem in which his literary abilities were held by the more
+sober-minded of his compeers:
+
+     "MON CHER CONFR�RE:--I learn from the papers of the funeral of
+     Alexandre Dumas at Villers-Cotterets.... It is with regret that I am
+     unable to attend.... But I am with you in my heart.... What I would
+     say, let me write.... No popularity of the past century has equalled
+     that of Alexandre Dumas. His successes were more than successes: they
+     were triumphs.... The name of Alexandre Dumas is more than 'Fran�ais,
+     il est Europ�en;' and it is more than European, it is universal. His
+     theatre has been given publicity in all lands, and his romances have
+     been translated into all tongues. Alexandre Dumas was one of those
+     men we can call the sowers of civilization.... Alexandre Dumas is
+     seducing, fascinating, interesting, amusing, and informing.... All
+     the emotions, the most pathetic, all the irony, all the comedy, all
+     the analysis of romance, and all the intuition of history are found
+     in the supreme works constructed by this great and vigorous
+     architect.
+
+     "... His spirit was capable of all the miracles he performed; this
+     he bequeathed and this survives.... Your renown but continues his
+     glory.
+
+     "... Your father and I were young together.... He was a grand and
+     good friend.... I had not seen him since 1857.... As I entered Paris
+     Alexandre Dumas was leaving. I did not have even a parting shake of
+     the hand.
+
+     "The visit which he made me in my exile I will some day return to his
+     tomb.
+
+     "_Cher confr�re, fils de mon ami, je vous embrasse._
+
+          "VICTOR HUGO."
+
+Of Dumas, Charles Reade said: "He has never been properly appreciated; he
+is the prince of dramatists, the king of romancists, and the emperor of
+good fellows."
+
+Dumas _fils_ he thought a "vinegar-blooded iconoclast--shrewd, clever,
+audacious, introspective, and mathematically logical."
+
+       *       *       *       *       *
+
+The Cimeti�re du P�re La Chaise has a contemporary interest with the names
+of many who were contemporaries of Dumas in the life and letters of his
+day.
+
+Of course, sentimental interest first attaches itself to the Gothic
+canopy--built from the fragments of the convent of Paraclet--which
+enshrines the remains of Abelard and Helo�se (1142-64), and this perhaps
+is as it should be, but for those who are conversant with the life of
+Paris of Dumas' day, this most "famous resting-place" has far more
+interest because of its shelter given to so many of Dumas' contemporaries
+and friends.
+
+Scribe, who was buried here 1861; Michelet, d. 1874; Delphine Cambac�r�s,
+1867; Lachambeaudie, 1872; Soulie, 1847; Balzac, 1850; Ch. Nodier, 1844;
+C. Delavigne, 1843; Delacroix, the painter, 1865; Talma, the tragedian,
+1826; Boieldieu, the composer, 1834; Chopin, 1849; Herold, 1833; General
+Foy, 1825; David d'Angers, 1856; Hugo, 1828 (the father of Victor Hugo);
+David, the painter, 1825; Alfred de Musset, 1857; Rossini, 1868.
+
+
+[Illustration: TOMB OF ABELARD AND H�LO�SE]
+
+
+
+
+CHAPTER V.
+
+THE PARIS OF DUMAS
+
+
+Dumas' real descent upon the Paris of letters and art was in 1823, when he
+had given up his situation in the notary's office at Cr�py, and after the
+eventful holiday journey of a few weeks before. His own account of this,
+his fourth entrance into the city, states that he was "landed from the
+coach at five A. M. in the Rue Bouloi, No. 9. It was Sunday morning, and
+Bourbon Paris was very gloomy on a Sunday."
+
+Within a short time of his arrival the young romancer was making calls, of
+a nature which he hoped would provide him some sort of employment until he
+should make his way in letters, upon many bearers of famous Bourbon names
+who lived in the Faubourgs St. Germain and St. Honor�--all friends and
+compatriots of his father.
+
+He had brought with him letters formerly written to his father, and hoped
+to use them as a means of introduction. He approached Marshal Jourdain,
+General Sebastiani, the Duc de Bellune, and others, but it was not until
+he presented himself to General Foy, at 64 Rue du Mont Blanc,--the deputy
+for his department,--that anything to his benefit resulted.
+
+Finally, through the kindly aid of General Foy, Dumas--son of a republican
+general though he was--found himself seated upon a clerk's stool, quill in
+hand, writing out dictation at the secretary's bureau of the Duc
+d'Orleans.
+
+"I then set about to look for lodgings," said Dumas, "and, after going up
+and down many staircases, I came to a halt in a little room on a fourth
+story, which belonged to that immense pile known as the 'P�t� des
+Italiens.' The room looked out on the courtyard, and I was to have it for
+one hundred and twenty francs per annum."
+
+From that time on Dumas may be said to have known Paris intimately--its
+life, its letters, its hotels and restaurants, its theatres, its salons,
+and its boulevards.
+
+So well did he know it that he became a part and parcel of it.
+
+His literary affairs and relations are dealt with elsewhere, but the
+various aspects of the social and economic life of Paris at the time Dumas
+knew its very pulse-beats must be gleaned from various contemporary
+sources.
+
+
+[Illustration: General Foy's Residence]
+
+
+The real Paris which Dumas knew--the Paris of the Second Empire--exists no
+more. The order of things changeth in all but the conduct of the stars,
+and Paris, more than any other centre of activity, scintillates and
+fluctuates like the changings of the money-markets.
+
+The life that Dumas lived, so far as it has no bearing on his literary
+labours or the evolving of his characters, is quite another affair from
+that of his yearly round of work.
+
+He knew intimately all the gay world of Paris, and fresh echoes of the
+part he played therein are being continually presented to us.
+
+He knew, also, quite as intimately, certain political and social movements
+which took place around about him, in which he himself had no part.
+
+It was in the fifties of the nineteenth century that Paris first became
+what one might call a coherent mass. This was before the days of the
+application of the adjective "Greater" to the areas of municipalities.
+Since then we have had, of course, a "Greater Paris" as we have a "Greater
+London" and a "Greater New York," but at the commencement of the Second
+Empire (1852) there sprang into being,--"jumped at one's eyes," as the
+French say,--when viewed from the heights of the towers of Notre Dame, an
+immense panorama, which showed the results of a prodigious development,
+radiating far into the distance, from the common centre of the _Ile de la
+Cit�_ and the still more ancient _Lut�ce_.
+
+Up to the construction of the present fortifications,--under
+Louis-Philippe,--Paris had been surrounded, at its outer confines, by a
+simple _octroi_ barrier of about twenty-five kilometres in circumference,
+and pierced by fifty-four entrances. Since 1860 this wall has been raised
+and the limits of what might be called Paris proper have been extended up
+to the fortified lines.
+
+This fortification wall was thirty-four kilometres in length; was
+strengthened by ninety-four bastions, and surrounded and supported by
+thirteen detached forts. Sixty-five openings gave access to the inner
+city, by which the roadways, waterways, and railways entered. These were
+further distinguished by classification as follows: _portes_--of which
+there were fifty; _poternes_--of which there were five; and _passages_--of
+which there were ten. Nine railways entered the city, and the "_Ceinture_"
+or girdle railway, which was to bind the various _gares_, was already
+conceived.
+
+At this time, too, the Quais received marked attention and development;
+trees were planted along the streets which bordered upon them, and a vast
+system of sewerage was planned which became--and endures until to-day--one
+of the sights of Paris, for those who take pleasure in such unsavoury
+amusements.
+
+Lighting by gas was greatly improved, and street-lamps were largely
+multiplied, with the result that Paris became known for the first time as
+"_La Ville Lumi�re_."
+
+A score or more of villages, or _bourgs_, before 1860, were between the
+limits of these two barriers, but were at that time united by the _loi
+d'annexion_, and so "Greater Paris" came into being.
+
+The principle _bourgs_ which lost their identity, which, at the same time
+is, in a way, yet preserved, were Auteuil, Passy, les Ternes, Batignolles,
+Montmartre, la Chapelle, la Villette, Belleville, M�nilmontant, Charenton,
+and Bercy; and thus the population of Paris grew, as in the twinkling of
+an eye, from twelve hundred thousand to sixteen hundred thousand; and its
+superficial area from thirty-four hundred _hectares_ to more than eight
+thousand--a _hectare_ being about the equivalent of two and a half acres.
+
+During the period of the "Restoration," which extended from the end of the
+reign of the great Napoleon to the coming of Louis-Philippe (1814-30),
+Paris may be said to have been in, or at least was at the beginning of,
+its golden age of prosperity.
+
+In a way the era was somewhat inglorious, but in spite of liberal and
+commonplace opinion, there was made an earnest effort to again secure the
+pride of place for French letters and arts; and it was then that the
+romantic school, with Dumas at its very head, attained its first
+importance.
+
+It was not, however, until Louis-Philippe came into power that civic
+improvements made any notable progress, though the Pont des Invalides had
+been built, and gas-lamps, omnibuses, and sidewalks, had been introduced
+just previously.
+
+Under Louis-Philippe were completed the �glise de la Madeleine and the Arc
+de Triomphe d'Etoile. The Obelisk,--a gift from Mohammed Ali, Viceroy of
+Egypt, to Louis-Philippe,--the Colonne de Juillet, and the Ponts
+Louis-Philippe and du Carrousel were built, as well as the modern
+fortifications of Paris, with their detached forts of Mont Valerien, Ivry,
+Charenton, Nogent, etc.
+
+There existed also the encircling boulevards just within the
+fortifications, and yet another parallel series on the north, beginning at
+the Madeleine and extending to the Colonne de Juillet.
+
+It was not, however, until the Second Republic and the Second Empire of
+Napoleon III. that a hitherto unparallelled transformation was undertaken,
+and there sprung into existence still more broad boulevards and spacious
+squares, and many palatial civic and private establishments, the Bourse,
+the New Opera, and several theatres, the Ceinture Railway, and the Bois de
+Boulogne and the Bois de Vincennes.
+
+By this time Dumas' activities were so great, or at least the product
+thereof was so great, that even his intimate knowledge of French life of a
+more heroic day could not furnish him all the material which he desired.
+
+It was then that he produced those essentially modern stories of life in
+Paris of that day, which, slight though they are as compared with the
+longer romances, are best represented by the "Corsican Brothers," "Captain
+Pamphile," and "Gabriel Lambert."
+
+       *       *       *       *       *
+
+Among the buildings at this time pulled down, on the Place du Carrousel,
+preparatory to the termination of the Louvre, was the H�tel Longueville,
+the residence of the beautiful duchess of that name, celebrated for her
+support of the Fronde and her gallantries, as much as for her beauty.
+Dumas would have revelled in the following incident as the basis of a
+tale. In the arched roof of one of the cellars of the duchess' h�tel two
+skeletons of a very large size and in a perfect state of preservation were
+discovered, which have since been the object of many discussions on the
+part of the antiquarians, but _adhuc sub judice lis est_. Another
+discovery was made close by the skeletons, which is more interesting from
+a literary point of view; namely, that of a box, in carved steel,
+embellished with gilded brass knobs, and containing several papers. Among
+them was an amatory epistle in verse, from the Prince de Marsillac to the
+fair duchess. The other papers were letters relating to the state of
+affairs at that time; some from the hand of the celebrated Turenne, with
+memorandums, and of the Prince de Conti, "of great value to autograph
+collectors," said the newspaper accounts of the time, but assuredly of
+still more value to historians, or even novelists.
+
+At this time Paris was peopled with many hundreds--perhaps thousands--of
+_mauvais sujets_, and frequent robberies and nightly outrages were more
+numerous than ever. The government at last hit on the plan of sending to
+the _bagnes_ of Toulon and Brest for several of the turnkeys and gaolers
+of those great convict _d�p�ts_, to whom the features of all their former
+prisoners were perfectly known. These functionaries, accompanied by a
+policeman in plain clothes, perambulated every part of Paris by day, and
+by night frequented all the theatres, from the Grand Op�ra downward, the
+low _caf�s_ and wine-shops. It appears that more than four hundred of
+these desperadoes were recognized and retransferred to their old quarters
+at Toulon. Some of these worthies had been carrying on schemes of
+swindling on a colossal scale, and more than one is described as having
+entered into large speculations on the Bourse. Perhaps it was from some
+such circumstance as this that Dumas evolved that wonderful narrative of
+the life of a forger, "Gabriel Lambert." One of the most noted in the
+craft was known by the _soubriquet_ of Pierre Mandrin, the name of that
+_c�l�br�_ being conferred on account of his superiority and skill in
+assuming disguises. When arrested he was figuring as a Polish count, and
+covered with expensive rings and jewelry. The career of this ruffian is
+interesting. In 1839, while undergoing an imprisonment of two years for
+robbery, he attempted to make his escape by murdering the gaoler, but
+failed, however, and was sent to the galleys at Toulon for twenty years.
+In 1848 he did escape from Brest, and, notwithstanding the greatest
+exertions on the part of the police, he succeeded in crossing the whole
+of France and gaining Belgium, where he remained for some time. Owing to
+the persecutions of the Belgian police, he subsequently returned to
+France. He was so unfortunate as to be captured in the very act of
+breaking into a house at Besan�on, but his prodigious activity enabled him
+once again to escape while on his way to prison, and he came to Paris.
+Being possessed of some money, he resolved to abandon his evil courses,
+and set up a greengrocer's shop in the Rue Rambuteau, which went on
+thrivingly for some time. But such an inactive life was insupportable to
+him, and he soon resumed his former exciting pursuits. Several robberies
+committed with consummate skill soon informed the police of the presence
+in Paris of some great master of the art of Mercury. The most experienced
+officers were accordingly sent out, but they made no capture until one of
+the Toulon gaolers fancied he recollected the convict under the features
+of an elegantly attired _lion_ on the Boulevard des Italiens. A few hours
+afterward the luckless _�chapp�_ was safely lodged at the Conciergerie. At
+his lodgings, besides the usual housebreaking implements, a complete
+assortment of costumes of every kind was discovered--from that of the
+dandy of the first water to the blouse of the artisan.
+
+There is something more than a morbid interest which attaches itself to
+the former homes and haunts of a great author or artist. The emotion is
+something akin to sentiment, to be sure, but it is pardonable; far more so
+than the contemplation of many more popular and notorious places.
+
+He who would follow the footsteps of Alexandre Dumas about Paris must
+either be fleet of foot, or one who can sustain a long march. At any rate,
+the progress will take a considerable time.
+
+It is impossible to say in how many places he lived, though one gathers
+from the "M�moires," and from contemporary information, that they numbered
+many score, and the uncharitable have further said that he found it more
+economical to move than to pay his rents. Reprehensible as this practice
+may be, Dumas was no single exponent of it--among artists and authors; and
+above all in his case, as we know, it resulted from imprudence and
+ofttimes misplaced confidence and generosity.
+
+One of Dumas' early homes in Paris, jocularly called by him "La P�t�
+d'Italie," was situated in that famous centre of unconventionality, the
+Boulevard des Italiens, a typical tree-shaded and caf�-lined boulevard.
+
+Its name was obviously acquired from its resemblance to, or suggestion of
+being constructed of, that mastic which is known in Germany as noodles,
+in Italy as macaroni, and in English-speaking countries as dough.
+
+To-day the structure, as it then was, exists no more, though the present
+edifice at the corner of the Rue Louis le Grand, opposite the vaudeville
+theatre, has been assuredly stated as in no wise differing in general
+appearance from its prototype, and, as it is after the same ginger-cake
+style of architecture, it will serve its purpose.
+
+Albert Vandam, in "An Englishman in Paris," that remarkable book of
+reminiscence whose authorship was so much in doubt when the work was first
+published, devoted a whole chapter to the intimacies of Dumas _p�re_;
+indeed, nearly every feature and character of prominence in the great
+world of Paris--at the time of which he writes--strides through the pages
+of this remarkably illuminating book, in a manner which is unequalled by
+any conventional volume of "Reminiscence," "Observations," or "Memoirs"
+yet written in the English language, dealing with the life of Paris--or,
+for that matter, of any other capital.
+
+His account, also, of a "literary caf�" of the Paris of the forties could
+only have been written by one who knew the life intimately, and, so far as
+Dumas' acquaintances and contemporaries are concerned, Vandam's book
+throws many additional side-lights on an aspect which of itself lies in no
+perceptible shadow.
+
+Even in those days the "boulevards"--the popular resort of the men of
+letters, artists, and musical folk--meant, as it does to-day, a somewhat
+restricted area in the immediate neighbourhood of the present Opera. At
+the corner of the Rue Lafitte was a tobacconist's shop, whose genius was a
+"splendid creature," of whom Alfred de Musset became so enamoured that his
+friends feared for an "imprudence on his part." The various elements of
+society and cliques had their favourite resorts and rendezvous; the actors
+under the trees in the courtyard of the Palais Royal; the _ouvrier_ and
+his family meandered in the Champs Elys�es or journeyed countryward to
+Grenelle; while the soldiery mostly repaired to La Plaine de St. Denis.
+
+A sister to Thiers kept a small dining establishment in the Rue Drouet,
+and many journalistic and political gatherings were held at her _tables
+d'h�te_. When asked whether her delicious pheasants were of her
+illustrious brother's shooting, she shook her head, and replied: "No, M.
+the President of the Council has not the honour to supply my
+establishment."
+
+Bohemia, as Paris best knew it in the fifties, was not that pleasant land
+which lies between the Moravian and the Giant Mountains; neither were the
+Bohemians of Paris a Slavonic or Teutonic people of a strange, nomad race.
+
+But the history of the Bohemia of arts and letters--which rose to its
+greatest and most prophetic heights in the Paris of the nineteenth
+century--would no doubt prove to be as extensive a work as Buckle's
+"History of Civilization," though the recitation of tenets and principles
+of one would be the inevitable reverse of the other.
+
+The intellectual Bohemian--the artist, or the man of letters--has
+something in his make-up of the gipsy's love of the open road; the
+vagabond who instinctively rebels against the established rules of
+society, more because they are established than for any other reason.
+
+Henri M�rger is commonly supposed to have popularized the "Bohemia" of
+arts and letters, and it is to him we owe perhaps the most graphic
+pictures of the life which held forth in the _Quartier Latin_, notorious
+for centuries for its lack of discipline and its defiance of the laws of
+Church, state, and society. It was the very nursery of open thought and
+liberty against absolutism and the conventional proprieties.
+
+Gustave Nadaud described this "unknown land" in subtle verse, which loses
+not a little in attempted paraphrase:
+
+  "There stands behind Ste. Genevi�ve,
+  A city where no fancy paves
+    With gold the narrow streets,
+  But jovial youth, the landlady
+  On gloomy stairs, in attic high,
+  Gay hope, her tenant, meets.
+
+    *       *       *       *       *
+
+  'Twas there that the Pays Latin stood,
+  'Twas there the world was _really_ good,
+    'Twas there that she was gay."
+
+Of the freedom and the unconventionally of the life of the Bohemian world
+of Paris, where the lives of literature and art blended in an almost
+imperceptible manner, and the gay indifference of its inhabitants, one has
+but to recall the incident where George Sand went to the studio of the
+painter Delacroix to tell him that she had sad news for him; that she
+could never love him; and more of the same sort. "Indeed," said Delacroix,
+who kept on painting.--"You are angry with me, are you not? You will never
+forgive me?"--"Certainly I will," said the painter, who was still at his
+work, "but I've got a bit of sky here that has caused me a deal of trouble
+and is just coming right. Go away, or sit down, and I will be through in
+ten minutes." She went, and of course did not return, and so the _affaire_
+closed.
+
+Dumas was hardly of the Pays Latin. He had little in common with the
+Bohemianism of the _poseur_, and the Bohemia of letters and art has been
+largely made up of that sort of thing.
+
+More particularly Dumas' life was that of the boulevards, of the
+journalist, of tremendous energy and output rather than that of the
+_dilettante_, and so he has but little interest in the south bank of the
+Seine.
+
+       *       *       *       *       *
+
+Michelet, while proclaiming loudly for French literature and life in _Le
+Peuple_, published in 1846, desponds somewhat of his country from the fact
+that the overwhelming genius of the popular novelists of that day--and who
+shall not say since then, as well--have sought their models, too often, in
+dingy cabarets, vile dens of iniquity, or even in the prisons themselves.
+
+He said: "This mania of slandering oneself, of exhibiting one's sores, and
+going, as it were, to look for shame, will be mortal in the course of
+time."
+
+This may, to a great extent, have been true then--and is true
+to-day--manifestly, but no lover of the beautiful ought to condemn a
+noisome flower if but its buds were beautiful, and Paris--the Paris of
+the Restoration, the Empire, or the Republic--is none the worse in the
+eyes of the world because of the iniquities which exist in every large
+centre of population, where creeds and intellects of all shades and
+capacities are herded together.
+
+The French novelist, it is true, can be very sordid and banal, but he can
+be as childlike and bland as an unsophisticated young girl--when he has a
+mind to.
+
+Dumas' novels were not lacking in vigour, valour, or action, and he wrote
+mostly of romantic times; so Michelet could not have referred to him.
+Perhaps he had the "Mysteries of Paris" or "The Wandering Jew" in mind,
+whose author certainly did give full measure of sordid detail; but then,
+Sue has been accused before now as not presenting a strictly truthful
+picture.
+
+So much for the presentation of the _tableaux_. But what about the actual
+condition of the people at the time?
+
+Michelet's interest in Europe was centred on France and confined to _le
+peuple_; a term in which he ofttimes included the _bourgeois_, as well he
+might, though he more often regarded those who worked with their hands. He
+repeatedly says: "I myself have been one of those workmen, and, although
+I have risen to a different class, I retain the sympathies of my early
+conditions."
+
+Michelet's judgment was quite independent and original when he compared
+the different classes; and he had a decided preference for that section
+which cultivates the soil, though by no means did he neglect those engaged
+in trade and manufacture. The _ouvrier industriel_ was as much entitled to
+respect as the labourer in the fields, or even the small tenant-farmer. He
+regretted, of course, the competition which turned _industrialisme_ into a
+cut-throat policy. He furthermore had this to say concerning foreign
+trade:
+
+"Alsace and Lyons have conquered art and science to achieve beauty for
+others.... The 'fairy of Paris' (the _modiste_) meets, from minute to
+minute, the most unexpected flights of fancy--and she _or he_ does to-day,
+be it recalled. _Les �trangers_ come in spite of themselves, and they buy
+of her (France); _ils ach�tent_--but what?--patterns, and then go basely
+home and copy them, to the loss, _but to the glory_, of France.
+
+"The Englishman or the German buys a few pieces of goods at Paris or
+Lyons; just as in letters France writes and Belgium sells."
+
+On the whole, Michelet thought that the population was more successful in
+tilling the soil than in the marts of the world; and there is this to be
+said, there is no question but what France is a self-contained country,
+though its arts have gone forth into the world and influenced all nations.
+
+Paris is, ever has been, and proudly--perhaps rightly--thinks that it ever
+will be, the artistic capital of the world.
+
+Georges Avenel has recently delivered himself of a screed on the
+"Mechanism of Modern Life," wherein are many pertinent, if sometimes
+trite, observations on the more or less automatic processes by which we
+are lodged, fed, and clothed to-day.
+
+He gives rather a quaint, but unquestionably true, reason for the alleged
+falling-off in the cookery of French--of course he means
+Parisian--restaurants. It is, he says, that modern patrons will no longer
+pay the prices, or, rather, will not spend the money that they once did.
+In the first half of the last century--the time of Dumas' activities and
+achievements--he tells us that many Parisian lovers of good fare were
+accustomed to "eat a napoleon" daily for their dinner. Nowadays, the same
+persons dine sufficiently at their club for eight and a half francs.
+Perhaps the abatement of modern appetites has something to say to this, as
+many folk seldom take more than thirty-five or forty minutes over their
+evening meal. How would this compare with the Gargantuan feasts described
+by Brillat-Savarin and others, or the gastronomic exploits of those who
+ate two turkeys at a sitting?
+
+Clearly, for comfort, and perhaps luxury, the Parisian hotels and
+restaurants of a former day compare agreeably with those of our own time;
+not so much, perhaps, with regard to time and labour-saving machinery,
+which is the equipment of the modern _batterie de cuisine_, but with the
+results achieved by more simple, if more laborious, means, and the
+appointments and surroundings amid which they were put upon the board.
+"The proof of the pudding is in the eating" is still applicable, whether
+its components be beaten or kneaded by clockwork or the cook's boy.
+
+With the hotels himself, Avenel is less concerned, though he reminds us
+again that Madame de Sevign� had often to lie upon straw in the inns she
+met with in travelling, and looked upon a bed in a hotel, which would
+allow one to undress, as a luxury. We also learn that the travellers of
+those days had to carry their own knives, the innkeeper thinking that he
+did enough in providing spoons and forks. Nor were hotels particularly
+cheap, a small suite of rooms in a hotel of the Rue Richelieu costing 480
+francs a week. It was Napoleon III. who, by his creation of the H�tel de
+Louvre,--not the present establishment of the same name, but a much
+larger structure,--first set the fashion of monster hostelries. But what
+was this compared with the Elys�es Palace, which M. d'Avenel chooses as
+his type of modern luxury, with its forty-three cooks, divided into seven
+brigades, each commanded by an officer drawing 3,750 francs a year, and
+its thirty-five hundred pairs of sheets and fifty thousand towels, valued
+together at little short of 250,000 francs? Yet, as we well know, even
+these totals pale before some of the hotels of America, in which M.
+d'Avenel sees the _ne plus ultra_ of organization and saving of labour by
+the ingenious use of machinery, and incidentally a great deal of the
+sentiment of good cheer, which was as much an ingredient of former
+hospitality as was the salt and pepper of a repast.
+
+It is pleasant to read of Alexandre Dumas' culinary skill, though the
+repetition of the fact has appeared in the works of well-nigh every writer
+who has written of the Paris of the fifties and sixties. The dinners at
+his apartments in the Boulevard Malesherbes were worthy of Soyer or even
+of Brillat-Savarin himself in his best days. In his last "Causeries
+Culinaires," the author of "Monte Cristo" tells us that the Bourbon kings
+were specially fond of soup. "The family," he writes, "from Louis XIV. to
+the last of their race who reigned in France, have been great eaters. The
+Grand Monarque commenced his dinner by two and sometimes three different
+kinds of soup; Louis-Philippe by four plates of various species of this
+comestible; in the fifth plate his Majesty usually mixed portions of the
+four varieties he had eaten, and appeared to enjoy this singular culinary
+combination."
+
+Dumas' reputation as an epicure must have been formed early; he describes
+in his "M�moires" how, on a certain occasion, when he had first become
+installed in Paris, he met a gentleman, Charles Nodier, in the stalls of
+the Porte St. Martin, who was reading a well-worn Elzevir entitled "La
+Pastissier Fran�aise." He says, "I address him.... 'Pardon my
+impertinence, but are you very fond of eggs?' 'Why so?' 'That book you are
+reading, does it not give recipes for cooking eggs in sixty different
+ways?' 'It does.' 'If I could but procure a copy.' 'But this is an
+Elzevir,' says my neighbour."
+
+The Parisian is without a rival as an epicure and a _gastronome_, and he
+associates no stigma with the epithet. In Anglo-Saxon lands the reverse is
+the case, though why it is hard to see.
+
+"Frog-legs" came to be a tidbit in the _tables d'h�te_ of New York and
+London many years ago, but sympathy has been withheld from the luscious
+_escargot_. There be those fearless individuals who by reason of the
+_entente cordiale_ have tasted of him and found him good, but learning
+that in the cookshops of Paris they have at last learned to fabricate them
+to equal the native grown article of Bourgogne, have tabooed them once for
+all, and threaten to withdraw their liking for that other succulent
+dainty, the frog.
+
+At any rate, the schoolboy idea that the Parisian's staple fare is snails
+and frogs is quite exploded, and small wonder it is that Anglo-Saxon
+palates never became wholly inured to them. But what about England's
+peculiar dishes? Marrow-bones and stewed eels, for instance?
+
+       *       *       *       *       *
+
+Dumas' familiarity with the good things of the table is nowhere more
+strongly advanced than in the opening chapter of "The Queen's Necklace,"
+wherein the author recounts the incident of "the nobleman and his _ma�tre
+d'h�tel_."
+
+The scene was laid in 1784, and runs as follows:
+
+     "The marshal turned toward his _ma�tre d'h�tel_, and said, 'Sir, I
+     suppose you have prepared me a good dinner?'
+
+     "'Certainly, your Grace.'
+
+     "'You have the list of my guests?'
+
+     "'I remember them perfectly.'
+
+     "'There are two sorts of dinners, sir,' said the marshal.
+
+     "'True, your Grace, but--'
+
+     "'In the first place, at what time do we dine?'
+
+     "'Your Grace, the citizens dine at two, the bar at three, the
+     nobility at four--'
+
+     "'And I, sir?'
+
+     "'Your Grace will dine to-day at five.'
+
+     "'Oh, at five!'
+
+     "'Yes, your Grace, like the king--'
+
+     "'And why like the king?'
+
+     "'Because, on the list of your guests is the name of a king.'
+
+     "'Not so, sir, you mistake; all my guests to-day are simple
+     noblemen.'
+
+     "'Your Grace is surely jesting; the Count Haga, who is among the
+     guests--'
+
+     "'Well, sir!'
+
+     "'The Count Haga is a king.' (The Count Haga was the well-known name
+     of the King of Sweden, assumed by him when travelling in France.)
+
+     "'In any event, your Grace _cannot_ dine before five o'clock.'
+
+     "'In heaven's name, do not be obstinate, but let us have dinner at
+     four.'
+
+     "'But at four o'clock, your Grace, what I am expecting will not have
+     arrived. Your Grace, I wait for a bottle of wine.'
+
+     "'A bottle of wine! Explain yourself, sir; the thing begins to
+     interest me.'
+
+     "'Listen, then, your Grace; his Majesty, the King of Sweden--I beg
+     pardon, the Count Haga, I should have said--drinks nothing but
+     Tokay.'
+
+     "'Well, am I so poor as to have no Tokay in my cellar? If so, I must
+     dismiss my butler.'
+
+     "'Not so, your Grace; on the contrary, you have about sixty bottles.'
+
+     "'Well, do you think Count Haga will drink sixty bottles with his
+     dinner?'
+
+     "'No, your Grace; but when Count Haga first visited France when he
+     was only prince royal, he dined with the late king, who had received
+     twelve bottles of Tokay from the Emperor of Austria. You are aware
+     that the Tokay of the finest vintages is reserved exclusively for the
+     cellar of the emperor, and that kings themselves can only drink it
+     when he pleases to send it to them.'
+
+     "'I know it.'
+
+     "'Then, your Grace, of these twelve bottles of which the prince
+     royal drank, only two remain. One is in the cellar of his Majesty
+     Louis XVI.--'
+
+     "'And the other?'
+
+     "'Ah, your Grace!' said the _ma�tre d'h�tel_, with a triumphant
+     smile, for he felt that, after the long battle he had been fighting,
+     the moment of victory was at hand, 'the other one was stolen.'
+
+     "'By whom, then?'
+
+     "'By one of my friends, the late king's butler, who was under great
+     obligations to me.'
+
+     "'Oh! and so he gave it to you.'
+
+     "'Certainly, your Grace,' said the _ma�tre d'h�tel_, with pride.
+
+     "'And what did you do with it?'
+
+     "'I placed it carefully in my master's cellar.'
+
+     "'Your master? And who was your master at that time?'
+
+     "'His Eminence the Cardinal de Rohan.'
+
+     "'Ah, _mon Dieu!_ at Strasbourg?'
+
+     "'At Saverne.'
+
+     "'And you have sent to seek this bottle for me!' cried the old
+     marshal.
+
+     "'For you, your Grace,' replied the _ma�tre d'h�tel_, in a tone which
+     plainly said, 'ungrateful as you are.'
+
+     "The Duke de Richelieu seized the hand of the old servant, and
+     cried, 'I beg pardon; you are the king of _ma�tres d'h�tel_.'"
+
+The French noblesse of the eighteenth century may have had retainers of
+the perspicacity and freedom of manners of this servant of the Mar�chal de
+Richelieu, but it is hard to picture them in real life to-day. At any
+rate, it bespeaks Dumas' fondness of good eating and good drinking that he
+makes so frequent use of references thereto, not only in this novel of a
+later day, but throughout the medi�val romances as well.
+
+Dumas' knowledge of gastronomy again finds its vent in "The Count of Monte
+Cristo," when the unscrupulous Danglars is held in a dungeon pending his
+giving up the five millions of francs which he had fraudulently obtained.
+
+It is not a very high-class repast that is discussed, but it shows at
+least Dumas' familiarity with the food of man.
+
+     "At twelve the guard before Danglars' cell was replaced by another
+     functionary, and, wishing to catch sight of his new guardian,
+     Danglars approached the door again. He was an athletic, gigantic
+     bandit, with large eyes, thick lips, and a flat nose; his red hair
+     fell in dishevelled masses like snakes around his shoulders. 'Ah!
+     ah!' cried Danglars, 'this fellow is more like an ogre than anything
+     else; however, I am rather too old and tough to be very good eating!'
+     We see that Danglars was quite collected enough to jest; at the same
+     time, as though to disprove the ogreish propensities, the man took
+     some black bread, cheese, and onions from his wallet, which he began
+     devouring voraciously. 'May I be hanged,' said Danglars, glancing at
+     the bandit's dinner through the crevices of the door, 'may I be
+     hanged if I can understand how people can eat such filth!' and he
+     withdrew to seat himself upon his goatskin, which recalled to him the
+     smell of the brandy....
+
+     "Four hours passed by, the giant was replaced by another bandit.
+     Danglars, who really began to experience sundry gnawings at the
+     stomach, rose softly, again applied his eye to the crack of the door,
+     and recognized the intelligent countenance of his guide. It was,
+     indeed, Peppino, who was preparing to mount guard as comfortably as
+     possible by seating himself opposite to the door, and placing between
+     his legs an earthen pan, containing chick-pease stewed with bacon.
+     Near the pan he also placed a pretty little basket of grapes and a
+     bottle of Vin d'Orvieto. Peppino was decidedly an epicure. While
+     witnessing these preparations, Danglars' mouth watered.... 'I can
+     almost imagine,' said he, 'that I were at the Caf� de Paris.'"
+
+Dumas, like every strong personality, had his friends and his enemies. It
+is doubtful which class was in the ascendency as to numbers. When asked,
+on one occasion, when he had been dining at the Caf� de Paris, if he were
+an arch�ologist,--he had been admiring a cameo portrait of Julius
+C�sar,--he replied, "No, I am absolutely nothing." His partisans were
+many, and they were as devoted as his enemies were jealous and
+uncharitable. Continuing, he said, "I admire this portrait in the capacity
+of C�sar's historian." "Indeed," said his interlocutor, "it has never been
+mentioned in the world of savants." "Well," said Dumas, "the world of
+savants never mentions me."
+
+This may be conceit or modesty, accordingly as one takes one view or
+another. Dumas, like most people, was not averse to admiration. Far from
+it. He thrived exceedingly on it. But he was, as he said, very much alone,
+and quite felt a nobody at times. Of his gastronomic and epicurean
+abilities he was vainly proud.
+
+The story is told of the sole possession by Dumas of a certain recipe for
+stewed carp. V�ron, the director of the opera, had instructed his own
+cook to serve the celebrated dish; she, unable to concoct it
+satisfactorily, announced her intention of going direct to the novelist to
+get it from his own lips. Sophie must have been a most ingenious and
+well-informed person, for she approached Dumas in all hostility and
+candour. She plunged direct into the subject, presuming that he had
+acquired the knowledge of this special tidbit from some outside source.
+
+Dumas was evidently greatly flattered, and gave her every possible
+information, but the experiment was not a success, and the fair
+_cordon-bleu_ began to throw out the suspicion that Dumas had acquired his
+culinary accomplishments from some other source than that he had generally
+admitted. It was at this time that Dumas was at the crux of his affairs
+with his collaborators.
+
+Accordingly Sophie made her pronouncement that it was with Dumas' cooking
+as it was with his romances, and that he was "_un grand diable de
+vaniteux_."
+
+At his home in the Rue Chauss�e d'Antin Dumas served many an epicurean
+feast to his intimates; preparing, it is said, everything with his own
+hands, even to the stripping of the cabbage-leaves for the _soupe aux
+choux_, "sleeves rolled up, and a large apron around his waist."
+
+A favourite menu was _soupe aux choux_, the now famous carp, a _rago�t de
+mouton, � l'Hongroise_; _roti de faisans_, and a _salade
+Japonaise_--whatever that may have been; the ices and _gateaux_ being sent
+in from a _p�tissier's_.
+
+       *       *       *       *       *
+
+The customs of the theatre in Paris are, and always have been, peculiar.
+Dumas himself tells how, upon one occasion, just after he had come
+permanently to live there, he had placed himself beside an immense _queue_
+of people awaiting admission to the Porte St. Martin.
+
+He was not aware of the procedure of lining up before the entrance-doors,
+and when one well up in the line offered to sell him his place for _twenty
+sous_--held since midday--Dumas willingly paid it, and, not knowing that
+it did not include admission to the performance, was exceedingly
+distraught when the time came to actually pay for places. This may seem a
+simple matter in a later day, and to us who have become familiar with
+similar conditions in Paris and elsewhere; but it serves to show the
+guilelessness of Dumas, and his little regard for business procedure of
+any sort.
+
+The incident is continued in his own words, to the effect that he "finally
+purchased a bit of pasteboard that once had been white, which I presented
+to the check-taker and received in return another of red.... My appearance
+in the amphitheatre of the house must have been astonishing. I was the
+very latest Villers-Cotterets fashion, but a revolution had taken place in
+Paris which had not yet reached my native place. My hair was long, and,
+being frizzled, it formed a gigantic aureole around my head. I was
+received with roars of laughter.... I dealt the foremost scoffer a
+vigorous slap in the face, and said, at the same time, 'My name is
+Alexandre Dumas. For to-morrow, I am staying at the H�tel des
+Vieux-Augustins, and after that at No. 1 Place des Italiens.'"
+
+By some incomprehensible means Dumas was hustled out of the theatre and on
+to the sidewalk--for disturbing the performance, though the performance
+had not yet begun. He tried his luck again, however, and this time bought
+a place at two francs fifty centimes.
+
+Every visitor to Paris has recognized the pre�minence of the "Opera" as a
+social institution. The National Opera, or the Th��tre Imp�rial de
+l'Op�ra, as it was originally known, in the Rue Lepelletier, just off the
+Boulevard des Italiens, was the progenitor of the splendid establishment
+which now terminates the westerly end of the Avenue de l'Opera. The more
+ancient "Grand Opera" was uncontestably the most splendid, the most
+pompous, and the most influential of its contemporary institutions
+throughout Europe.
+
+The origin of the "Grand Opera" was as remote as the times of Anne of
+Austria, who, it will be recalled, had a most passionate regard for
+_musique_ and spectacle, and Mazarin caused to be brought from Italy
+musicians who represented before the queen "musical pieces" which proved
+highly successful.
+
+Later, in 1672, Louis XIV. accorded the privilege of the Opera to Lulli, a
+distinguished musician of Florence, and the theatre of the Palais Royal
+was ceded to the uses of Acad�mie de Musique.
+
+After the fire of 1763, the Opera was transferred to the Tuileries, but
+removed again, because of another fire, to the Porte St. Martin, where it
+remained until 1794, when it was transferred to a new house which had been
+constructed for it in the Rue Richelieu.
+
+Again in 1820 it was removed to a new establishment, which had been
+erected on the site of the former H�tel de Choiseul.
+
+This house had accommodations for but two thousand spectators, and, in
+spite of its sumptuousness and rank, was distinctly inferior in point of
+size to many opera-houses and theatres elsewhere.
+
+Up to this time the management had been governed after the manner of the
+old r�gime, "by three gentlemen of the king's own establishment, in
+concurrence with the services of a working director," and the royal privy
+purse was virtually responsible for the expenses. Louis-Philippe astutely
+shifted the responsibility to the public exchequer.
+
+In 1831, Dr. Louis V�ron, the founder of the _Revue de Paris_,--since
+supplanted by the _Revue des Deux Mondes_,--became the manager and
+director. Doctor V�ron has been called as much the quintessence of the
+life of Paris of the first half of the nineteenth century as was Napoleon
+I. of the history of France.
+
+Albert Vandam, the author of "An Englishman in Paris," significantly
+enough links V�ron's name in his recollections with that of Dumas, except
+that he places Dumas first.
+
+"Robert le Diable" and Taglioni made V�ron's success and his fortune,
+though he himself was a master of publicity. From 1831 onward, during
+V�ron's incumbency, the newspapers contained column after column of the
+"puff personal," not only with respect to V�ron himself, but down through
+the galaxy of singers and dancers to the veriest stage-carpenter, scenic
+artist, and call-boy.
+
+The modern managers have advanced somewhat upon these premature efforts;
+but then the art was in its infancy, and, as V�ron himself was a
+journalist and newspaper proprietor, he probably well understood the
+gentle art of exchanging favouring puffs of one commodity for those of
+another.
+
+These were the days of the first successes of Meyerbeer, Hal�vy, Auber,
+and Duprez; of Taglioni, who danced herself into a nebula of glory, and
+later into a shadow which inspired the spiteful critics into condemnation
+of her waning power.
+
+It has been said that Marie Taglioni was by no means a good-looking woman.
+Indeed, she must have been decidedly plain. Her manners, too, were
+apparently not affable, and "her reception of Frenchmen was freezing to a
+degree--when she thawed it was to Russians, Englishmen, or Viennese." "One
+of her shoulders was higher than the other, she limped slightly, and,
+moreover, waddled like a duck." Clearly a stage setting was necessary to
+show off her charms. She was what the French call "_une pimb�che_."
+
+The architectural effect produced by the exterior of this forerunner of
+the present opera was by no means one of monumental splendour. Its
+architect, Debret, was scathingly criticized for its anomalies. A
+newspaper anecdote of the time recounts the circumstance of a provincial
+who, upon asking his way thither, was met with the direction, "That
+way--the first large gateway on your right."
+
+Near by was the establishment of the famous Italian _restaurateur_, Paolo
+Broggi, the resort of many singers, and the Estaminet du Divan, a sort of
+humble counterpart of the Caf� Riche or the Caf� des Anglais, but which
+proclaimed a much more literary atmosphere than many of the bigger
+establishments on the boulevards. Vandam relates of this house of call
+that "it is a positive fact that the _gar�on_ would ask, 'Does monsieur
+desire Sue's or Dumas' _feuilleton_ with his _caf�_?'"
+
+Of the Opera which was burned in 1781, Dumas, in "The Queen's Necklace,"
+has a chapter devoted to "Some Words about the Opera." It is an
+interesting, albeit a rather superfluous, interpolation in a romance of
+intrigue and adventure:
+
+     "The Opera, that temple of pleasure at Paris, was burned in the month
+     of June, 1781. Twenty persons had perished in the ruins; and, as it
+     was the second time within eighteen years that this had happened, it
+     created a prejudice against the place where it then stood, in the
+     Palais Royal, and the king had ordered its removal to a less central
+     spot. The place chosen was La Porte St. Martin.
+
+     "The king, vexed to see Paris deprived for so long of its Opera,
+     became as sorrowful as if the arrivals of grain had ceased, or bread
+     had risen to more than seven sous the quartern loaf. It was
+     melancholy to see the nobility, the army, and the citizens without
+     their after-dinner amusement; and to see the promenades thronged with
+     the unemployed divinities, from the chorus-singers to the prima
+     donnas.
+
+     "An architect was then introduced to the king, full of new plans, who
+     promised so perfect a ventilation, that even in case of fire no one
+     could be smothered. He would make eight doors for exit, besides five
+     large windows placed so low that any one could jump out of them. In
+     the place of the beautiful hall of Moreau he was to erect a building
+     with ninety-six feet of frontage toward the boulevard, ornamented
+     with eight caryatides on pillars forming three entrance-doors, a
+     bas-relief above the capitals, and a gallery with three windows. The
+     stage was to be thirty-six feet wide, the theatre seventy-two feet
+     deep and eighty across, from one wall to the other. He asked only
+     seventy-five days and nights before he opened it to the public.
+
+     "This appeared to all a mere gasconade, and was much laughed at. The
+     king, however, concluded the agreement with him. Lenoir set to work,
+     and kept his word. But the public feared that a building so quickly
+     erected could not be safe, and when it opened no one would go.
+
+     "Even the few courageous ones who did go to the first representation
+     of 'Adele de Ponthieu' made their wills first. The architect was in
+     despair. He came to the king to consult him as to what was to be
+     done.
+
+     "It was just after the birth of the dauphin; all Paris was full of
+     joy. The king advised him to announce a gratuitous performance in
+     honour of the event, and give a ball after. Doubtless plenty would
+     come, and if the theatre stood, its safety was established.
+
+     "'Thanks, Sire,' said the architect.
+
+     "'But reflect, first,' said the king, 'if there be a crowd, are you
+     sure of your building?'
+
+     "'Sire, I am sure, and shall go there myself.'
+
+     "'I will go to the second representation,' said the king.
+
+     "The architect followed this advice. They played 'Adele de Ponthieu'
+     to three thousand spectators, who afterward danced. After this there
+     could be no more fear."
+
+It was three years after that Madame and the cardinal went to the
+celebrated ball, the account of which follows in the subsequent chapter of
+the romance.
+
+Dumas as a dramatist was not so very different from Dumas the novelist.
+When he first came to Paris the French stage was by no means at a low and
+stagnant ebb--at least, it was not the thin, watery concoction that many
+English writers would have us believe; and, furthermore, the world's great
+dramatist--Shakespeare--had been and was still influencing and inspiring
+the French playwright and actor alike.
+
+It was the "Hamlet" of Ducis--a very French Hamlet, but still Hamlet--and
+the memory of an early interview with Talma that first set fire to the
+fuel of the stage-fever which afterward produced Dumas the dramatist.
+
+Dumas was not always truthful, or, at least, correct, in his facts, but he
+did not offend exceedingly, and he was plausible; as much so, at any rate,
+as Scott, who had erred to the extent of fifteen years in his account of
+the death of Amy Robsart.
+
+In 1824 was born Alexandre Dumas _fils_, and at this time the parent was
+collaborating with Souli� in an attempted, but unfinished, dramatization
+of Scott's "Old Mortality."
+
+By 1830, after he had left official work, Dumas had produced that drama of
+the Valois, "Henri III.," at the Th��tre Fran�ais, where more than a
+century before Voltaire had produced his first play, "Oedipe," and
+where the "Hernani" of Victor Hugo had just been produced.
+
+It was a splendid and gorgeous event, and the adventures of the Duchesse
+de Guise, St. M�grin, Henri III. and his satellites proved to the large
+and distinguished audience present no inconspicuous element in the success
+of the future king of romance. It was a veritable triumph, and for the
+time the author was more talked of and better known than was Hugo, who had
+already entered the arena, but whose assured fame scarcely dates from
+before "Hernani," whose first presentation--though it was afterward
+performed over three hundred times in the same theatre--was in February of
+the same year.
+
+Voltaire had been dead scarce a half-century, but already the dust lay
+thick on his dramatic works, and the world of Paris was looking eagerly
+forward to the achievements of the new school. One cannot perhaps claim
+for Dumas that he was in direct lineage of Shakespeare,--as was claimed
+for Hugo, and with some merit,--but he was undoubtedly one of the first of
+the race of the popular French playwrights whose fame is perpetuated
+to-day by Sardou. At any rate, it was a classic struggle which was
+inaugurated in France--by literature and the drama--in the early half of
+the nineteenth century, and one which was a frank rebellion against the
+rigid rules by which their arts had been restrained--especially dramatic
+art.
+
+
+[Illustration: D'ARTAGNAN
+
+From the Dumas Statue by Gustave Dor�]
+
+
+With all due credit, then, to Hugo, it was Dumas who led the romanticists
+through the breach that was slowly opening; though at the same time one
+may properly enough recall the names of Alfred de Musset, Theophile
+Gautier, and Gerard de Nerval.
+
+Dumas' next play was in "classical form"--"Christine."
+
+Mere chance brought Dumas into an acquaintance with the history of
+Christine of Sweden, and, though the play was written and accepted before
+"Henri III. et Sa Cour," it was not until some time later that it was
+produced at the Od�on; the recollection of which also brings up the name
+of Mlle. Mars.
+
+       *       *       *       *       *
+
+The statue in Paris in the Place Malesherbes, erected to the memory of
+Dumas, has been highly commended in conception and execution. It was the
+work of Gustave Dor�, and, truth to tell, it has some wonderfully
+effective sculptures in bronze. A group of three symbolical figures _en
+face_, and a lifelike and life-sized representation of the courageous
+D'Artagnan _d'arri�re_. These details are charming when reproduced on
+paper by process of photography or the hand of an artist. Indeed, they are
+of much the same quality when viewed as details, but in the ensemble,
+combined with a cold, inartistic base or pedestal, which is crowned by a
+seated effigy of Dumas--also life-size--clad in the unlovely raiment of
+the latter nineteenth century, there is much to be desired.
+
+Statues, be they bronze or marble, are often artistically successful when
+their figures are covered with picturesque medi�val garments, but they are
+invariably a failure, in an artistic sense, when clothed in latter-day
+garb. Doublet and hose, and sword and cloak lend themselves unmistakably
+to artistic expression. Trousers and top-hats do not. Just back of the
+Place Malesherbes is the Avenue de Villiers--a street of fine houses, many
+of them studio apartments, of Paris's most famous artists. Here at No. 94
+lived Alexandre Dumas during the later years of his life; so it is fitting
+that his monument should be placed in this vicinity. The house was
+afterward occupied by Dumas _fils_, and more lately by his widow, but now
+it has passed into other hands.
+
+Of interest to Americans is the fact which has been recorded by some one
+who was _au courant_ with Parisian affairs of the day, "that the United
+States Minister to France, Mr. John Bigelow, breakfasted with Dumas at St.
+Gratien, near Paris," when it came out that he (Dumas) had a notion to go
+out to America as a war correspondent for the French papers; the Civil War
+was not then over. Unhappily for all of us, he did not go, and so a truly
+great book was lost to the world.
+
+In this same connection it has been said that Dumas' "quadroon autographs"
+were sold in the United States, to provide additional funds for the widows
+and orphans of slain abolitionists. As it is apocryphally said that they
+sold for a matter of a hundred and twenty dollars each, the sum must have
+reached considerable proportions, if their number was great.
+
+
+
+
+CHAPTER VI.
+
+OLD PARIS
+
+
+The Paris of Dumas was M�ryon's--though it is well on toward a
+half-century since either of them saw it. Hence it is no longer theirs;
+but the master romancer and the master etcher had much in common.
+
+They both drew with a fine, free hand, the one in words that burn
+themselves in the memory, and the other in lines which, once bitten on the
+copper plate, are come down to us in indelible fashion. The mention of
+M�ryon and his art is no mere rambling of the pen. Like that of Dumas, his
+art depicted those bold, broad impressions which rebuilt "old Paris" in a
+manner which is only comparable to the background which Dumas gave to "Les
+Trois Mousquetaires."
+
+The iconoclastic Haussman caused much to disappear, and it is hard to
+trace the footsteps of many a character of history and romance, whose
+incomings and outgoings are otherwise very familiar to us.
+
+There are many distinct cities which go to make up Paris itself, each
+differing from the other, but Dumas and M�ryon drew them each and all with
+unerring fidelity: Dumas the University Quarter and the faubourgs in "Les
+Trois Mousquetaires," and M�ryon the Cit� in "The Stryge."
+
+The sheer beauty and charm of old-world Paris was never more strongly
+suggested than in the work of these two masters, who have given a
+permanence to the abodes of history and romance which would otherwise have
+been wanting. It is a pleasurable occupation to hunt up the dwellings of
+those personages who may, or may not, have lived in the real flesh and
+blood. The mere fact that they lived in the pages of a Dumas--or for that
+matter of a Balzac or a Hugo--is excuse enough for most of us to seek to
+follow in their footsteps.
+
+In spite of the splendour of the present and the past, Paris is by no
+means too great to prevent one's tracing its old outlines, streets, and
+landmarks, even though they have disappeared to-day, and the site of the
+famous H�tel Chevreuse or the Carmelite establishment in the Rue
+Vaugirard--against whose wall D'Artagnan and his fellows put up that
+gallant fight against the cardinal's guard--are in the same geographical
+positions that they always were, if their immediate surroundings have
+changed, as they assuredly have.
+
+Indeed, the sturdy wall which kept the Carmelite friars from contact with
+the outer world has become a mere hoarding for gaudily coloured posters,
+and the magnificent H�tel Chevreuse on the Boulevard St. Germain has been
+incorporated into a modern apartment-house, and its garden cut through by
+the Boulevard Raspail.
+
+The destruction of "Old Paris"--the gabled, half-timbered, medi�val
+city--is not only an artistic regret, but a personal one to all who know
+intimately the city's history and romance. It was inevitable, of course,
+but it is deplorable.
+
+M�ryon, too, like Dumas, etched details with a certain regard for effect
+rather than a colder preciseness, which could hardly mean so much as an
+impression of a mood. They both sought the picturesque element, and
+naturally imparted to everything modern with which they came into contact
+the same charm of reality which characterized the tangible results of
+their labours.
+
+Nothing was left to chance, though much may--we have reason to think--have
+been spontaneous. The witchery of a picturesque impression is ever great,
+but the frequency of its occurrence is growing less and less.
+
+To-day we have few romancers, few painters or etchers of fleeting moods or
+impressions, and are fast becoming schooled in the tenets of Zola and
+Baudry, to the glorification of realism, but to the death and deep burial
+of the far more healthy romanticism of the masters of a few generations
+since.
+
+       *       *       *       *       *
+
+To the Roman occupation of Paris succeeded that of the Franks, and Clovis,
+son of Child�rie and grandson of Merov�e, after his conversion to
+Christianity at Reims, established the seat of his empire at Paris.
+
+Childebert, the descendant of Clovis,--who had taken unto himself the
+title King of Paris,--in 524 laid the foundation of the first �glise de
+Notre Dame.
+
+The kings of the second race lived in Paris but little, and under the
+feeble successors of Charlemagne the city became the particular domain of
+the hereditary counts. In the year 845 the Normans came up the river by
+boat and razed all of that part known even to-day as La Cit�, hence the
+extreme improbability of there being existing remains of an earlier date
+than this, which are to-day recognizable. After successive disasters and
+invasions, it became necessary that new _quartiers_ and new streets should
+be formed and populated, and under the reign of Louis VII. the walls were
+extended to include, on the right bank, Le Bourg l'Abb�, Le Bourg
+Thibourg, Le Beau-Bourg, Le Bourg St. Martin,--regions which have since
+been occupied by the Rues St. Martin, Beaubourg, Bourtebourg, and Bourg
+l'Abb�,--and, on the right bank, St. Germain des Pr�s, St. Victor, and St.
+Michel.
+
+Since this time Paris has been divided into three distinct parts: La
+Ville, to the north of the Seine, La Cit�, in the centre, and
+L'Universit�, in the south.
+
+The second _enceinte_ did not long suffice to enclose the habitations of
+the people, and in the year 1190 Philippe-Auguste constructed the third
+wall, which was strengthened by five hundred towers and surrounded by a
+deep _fosse_, perpetuated to-day as the Rempart des Fosses. At this time
+the first attempts were made at paving the city streets, principally at
+the instigation of the wealthy G�rard de Poissy, whose name has since been
+given to an imposing street on the south bank.
+
+Again, in 1356, the famous Etienne Marcel commenced the work of the fourth
+_enceinte_. On the south, the walls were not greatly extended, but on the
+north they underwent a considerable aggrandizement. Fortified gateways
+were erected at the extremity of the Rue de St. Antoine, and others were
+known variously as the Porte du Temple and Porte St. Denis. Other chief
+features of the time--landmarks one may call them--were the Porte St.
+Honor�, which was connected with the river-bank by a prolonged wall, the
+Tour du Bois, and a new fortification--as a guardian against internal
+warfare, it would seem--at the upper end of the Ile de la Cit�.
+
+Toward the end of the reign of Louis XI. the city had become repeopled,
+after many preceding years of flood, ravage, and famine, and contained, it
+is said, nearly three hundred thousand souls.
+
+From this reign, too, dates the establishment of the first printing-shop
+in Paris, the letter-post, and the _poste-chaise_. Charles VII., the son
+of Louis XI., united with the Biblioth�que Royal those of the Kings of
+Naples.
+
+Louis XII., who followed, did little to beautify the city, but his
+parental care for the inhabitants reduced the income of the tax-gatherer
+and endeared his name to all as the _P�re du Peuple_.
+
+Fran�ois I.--whose glorious name as the instigator of much that has since
+become national in French art--considerably enlarged the fortifications
+on the west, and executed the most momentous embellishments which had yet
+taken place in the city. In public edifices he employed, or caused his
+architects to employ, the Greek orders, and the paintings by Italian hands
+and the sculptures of Goujon were the highest expressions of the art of
+the Renaissance, which had grown so abundantly from the seed sown by
+Charles VIII. upon his return from his wanderings in Italy.
+
+It may be questioned if the art of the Renaissance is really beautiful; it
+is, however, undeniably effective in its luxuriant, if often ill-assorted,
+details; so why revile it here? It was the prime cause, more than all
+others put together, of the real adornment of Paris; and, in truth, was
+far more successful in the application of its principles here than
+elsewhere.
+
+During the reign of Fran�ois I. were built, or rebuilt, the great �glises
+de St. Gervais, St. Germain l'Auxerrois, and St. Merry, as well as the
+H�tel de Ville. The Louvre was reconstructed on a new plan, and the
+Faubourg St. Germain was laid out anew.
+
+Under Henri II. the work on the Louvre was completed, and the H�pital des
+Petites Maisons constructed. It was Henri II., too, who first ordained
+that the effigies of the kings should be placed upon all coins.
+
+The principal edifices built under Charles IX. were the Palais des
+Tuileries, H�tel de Soissons, the Jesuit College, and the H�pital du St.
+Jacques du Haut Pas.
+
+Henri III. erected the church of the Jesuits in the Rue St. Antoine, the
+�glise de St. Paul et St. Louis, the Monast�re des Feuillants, the H�tel
+de Bourgogne, and the Th��tre Italien.
+
+Under Henri IV. was achieved the Pont Neuf, whose centre piers just
+impinge upon the lower end of the Ile de la Cit�; the Quais de l'Arsenal,
+de l'Horloge, des Orphelins, de l'Ecole, de la M�gisserie, de Conti, and
+des Augustins; la Place Dauphine, and the Rue Dauphine. The Place Royale
+came to replace--in the _Quartier du Marais_--the old Palais des
+Tournelles, the pleasure of so many kings, Fran�ois I. in particular.
+
+Louis XIII., the feeble king who reigned without governing, saw many
+improvements, which, however, grew up in spite of the monarch rather than
+because of him.
+
+There was a general furbishing up of the streets and quais. Marie de
+Medicis built the Palais du Luxembourg and planted the Cours la Reine;
+many new bridges were constructed and new monuments set up, among others
+the Palais Royal, at this time called the Palais Cardinal; the �glise St.
+Roch; the Oratoire; le Val-de-Grace; les Madelonnettes; la Salp�tri�r�;
+the Sorbonne, and the Jardin des Plantes. Many public places were also
+decorated with statues: the effigy of Henri IV. was placed on the Pont
+Neuf, and of Louis XII. in the Place Royale.
+
+By this time the population had overflowed the walls of Philippe-Auguste,
+already enlarged by Fran�ois I., and Louis XIV. overturned their towers
+and ramparts, and filled their _fosses_, believing that a strong community
+needed no such protections.
+
+These ancient fortifications were replaced by the boulevards which exist
+even unto to-day--not only in Paris, but in most French towns and
+cities--unequalled elsewhere in all the world.
+
+Up to the reign of Louis XIV. the population of Paris had, for the most
+part, been lodged in narrow, muddy streets, which had subjected them to
+many indescribable discomforts. Meanwhile, during the glorious reign of
+Louis XIV., Paris achieved great extension of area and splendour; many new
+streets were opened in the different _quartiers_, others were laid out
+anew or abolished altogether, more than thirty churches were
+built,--"all highly beautiful," say the guide-books. But they are not:
+Paris churches taken together are a decidedly mixed lot, some good in
+parts and yet execrable in other parts, and many even do not express any
+intimation whatever of good architectural forms.
+
+
+[Illustration: PONT NEUF.--PONT AU CHANGE]
+
+
+The Pont au Change was rebuilt, and yet four other bridges were made
+necessary to permit of better circulation between the various _faubourgs_
+and _quartiers_.
+
+To the credit of Louis XIV. must also be put down the H�tel des Invalides,
+the Observatoire, the magnificent colonnade of the Louvre, the Pont Royal,
+the Coll�ge des Quatre Nations, the Biblioth�que Royale, numerous
+fountains and statues, the royal glass, porcelain, and tapestry
+manufactories, the Arc de Triomphe du Carrousel, and the Boulevards St.
+Denis and St. Martin.
+
+Saint Foix (in his "Essais sur Paris") has said that it was Louis XIV. who
+first gave to the reign of a French monarch the _�clat_ of grandeur and
+magnificence, not only for his court, but for his capital and his people.
+
+Under the succeeding reign of Louis XV. the beautifying of Paris took
+another flight. On the place which first bore the name of the monarch
+himself, but which is to-day known as the Place de la Concorde, were
+erected a pair of richly decorated monuments which quite rivalled in
+achievement the superb colonnaded Louvre of the previous reign, the Champs
+Elys�es were replanted, the �cole Militaire, the �cole de Droit, and the
+H�tel de la Monnaie were erected, and still other additional boulevards
+and magnificent streets were planned out.
+
+A new church came into being with St. Genevieve, which afterward became
+the Panth�on.
+
+The reign following saw the final achievement of all these splendid
+undertakings; then came the Revolution, that political terror which would
+have upset all established institutions; and if Paris, the city of
+splendid houses, did not become merely a cemetery of tombs, it was not
+because maniacal fanaticism and fury were lacking.
+
+Religious, civic, and military establishments were razed, demolished, or
+burnt, regardless of their past associations or present artistic worth.
+
+In a way, however, these sacrilegious demolitions gave cause to much
+energetic rebuilding and laying out of the old city anew, in the years
+immediately succeeding the period of the Revolution, which as an
+historical event has no place in this book other than mere mention, as it
+may have been referred to by Dumas.
+
+It was Napoleon who undertook the rehabilitation of Paris, with an energy
+and foresight only equalled by his prowess as a master of men.
+
+He occupied himself above all with what the French themselves would call
+those _monuments et decorations utiles_, as might be expected of his
+abilities as an organizer. The canal from the river Ourcq through La
+Villette to the Seine was, at the Fosses de la Bastille, cleared and
+emptied of its long stagnant waters; _abattoirs_ were constructed in
+convenient places, in order to do away with the vast herds of cattle which
+for centuries had been paraded through the most luxurious of the city's
+streets; new markets were opened, and numerous fountains and
+watering-troughs were erected in various parts of the city; four new and
+ornate bridges were thrown across the Seine, the magnificent Rues
+Castiglione and de la Paix, extending from the Tuileries to the interior
+boulevards, were opened up; the Place Vendome was then endowed with its
+bronze column, which stands to-day; the splendid and utile Rue de Rivoli
+was made beside the garden of the Tuileries (it has since been prolonged
+to the H�tel de Ville).
+
+Napoleon also founded the Palais de la Bourse (1808), and caused to be
+erected a superb iron _grille_ which should separate the Place du
+Carrousel from the Tuileries.
+
+Under the Restoration little happened with regard to the beautifying and
+aggrandizing of the city, though certain improvements of a purely economic
+and social nature made their own way.
+
+The literature and art of Dumas and his compeers were making such sturdy
+progress as to give Paris that pre�minence in these finer elements of
+life, which, before or since, has not been equalled elsewhere.
+
+Since the Revolution of 1830 have been completed the Arc de Triomphe de
+l'Etoile (commenced by Napoleon I.), the �glise de la Madeleine, the fine
+hotel of the Quai d'Orsay, the Palais des Beaux Arts, the restoration of
+the Chambre des D�put�s (the old Palais Bourbon), and the statues set up
+in the Place de la Concorde; though it is only since the ill-starred
+Franco-Prussian _affaire_ of 1871 that Strasbourg's doleful figure has
+been buried in jet and alabaster sentiments, so dear to the Frenchman of
+all ranks, as an outward expression of grief.
+
+At the commencement of the Second Empire the fortifications, as they then
+existed, possessed a circumference of something above thirty-three
+kilometres--approximately nineteen miles. The walls are astonishingly
+thick, and their _foss�s_ wide and deep. The surrounding exterior forts
+"_de distance en distance_" are a unique feature of the general scheme of
+defence, and played, as it will be recalled, no unimportant part in the
+investiture of the city by the Germans in the seventies.
+
+A French writer of the early days of the last Empire says: "These new
+fortifications are in their ensemble a gigantic work." They are,
+indeed--though, in spite of their immensity, they do not impress the lay
+observer even as to impregnability as do the wonderful walls and ramparts
+of Carcassonne, or dead Aigues-Mortes in the Midi of France; those
+wonderful somnolent old cities of a glorious past, long since departed.
+
+The fortifications of Paris, however, are a wonderfully utile thing, and
+must ever have an unfathomable interest for all who have followed their
+evolution from the restricted battlements of the early Roman city.
+
+The Parisian has, perhaps, cause to regret that these turf-covered
+battlements somewhat restrict his "_promenades environnantes_," but what
+would you? Once outside, through any of the gateways, the Avenue de la
+Grande Arm�e,--which is the most splendid,--or the Porte du Canal de
+l'Ourcq,--which is the least luxurious, though by no means is it
+unpicturesque; indeed, it has more of that variable quality, perhaps, than
+any other,--one comes into the charm of the French countryside; that is,
+if he knows in which direction to turn. At any rate, he comes immediately
+into contact with a life which is quite different from any phase which is
+to be seen within the barrier.
+
+From the Revolution of 1848 to the first years of the Second Empire, which
+ought properly to be treated by itself,--and so shall be,--there came into
+being many and vast demolitions and improvements.
+
+Paris was a vast atelier of construction, where agile minds conceived, and
+the artisan and craftsman executed, monumental glories and improvements
+which can only be likened to the focusing of the image upon the ground
+glass.
+
+The prolongation of the Rue de Rivoli was put through; the Boulevards
+Sebastopol, Malesherbes,--where in the Place Malesherbes is that appealing
+monument to Dumas by Gustave Dor�,--du Prince Eug�ne, St. Germain,
+Magenta, the Rue des �coles, and many others. All of which tended to
+change the very face and features of the Paris the world had known
+hitherto.
+
+The "Caserne Napoleon" had received its guests, and the Tour St. Jacques,
+from which point of vantage the "clerk of the weather" to-day
+prognosticates for Paris, had been restored. Magnificent establishments of
+all sorts and ranks had been built, the Palais de l'Industrie (since
+razed) had opened its doors to the work of all nations, in the exhibition
+of 1855.
+
+Of Paris, one may well concentrate one's estimate in five words: "Each
+epoch has been rich," also prolific, in benefits, intentions, and
+creations of all manner of estimable and admirable achievements.
+
+By favour of these efforts of all the reigns and governments which have
+gone before, the Paris of to-day in its architectural glories, its
+monuments in stone, and the very atmosphere of its streets, places, and
+boulevards, is assuredly the most marvellous of all the cities of Europe.
+
+       *       *       *       *       *
+
+It may not be an exceedingly pleasant subject, but there is, and always
+has been, a certain fascination about a visit to a cemetery which ranks,
+in the minds of many well-informed and refined persons, far above even the
+contemplation of great churches themselves.
+
+It may be a morbid taste, or it may not. Certainly there seems to be no
+reason why a considerable amount of really valuable facts might not be
+impressed upon the retina of a traveller who should do the round of
+_Campos Santos_, _Cimeti�res_ and burial-grounds in various lands.
+
+In this respect, as in many others, Paris leads the way for sheer interest
+in its tombs and sepulchres, at Montmartre and P�re la Chaise.
+
+In no other burial-ground in the world--unless it be Mount Auburn, near
+Boston, where, if the world-wide name and fame of those there buried are
+not so great as those at Paris, their names are at least as much household
+words to English-speaking folk, as are those of the old-world
+resting-place to the French themselves--are to be found so many celebrated
+names.
+
+There are a quartette of these famous resting-places at Paris which, since
+the coming of the nineteenth century, have had an absorbing interest for
+the curiously inclined. P�re la Chaise, Montmartre, the royal sepulchres
+in the old abbey church of St. Denis, and the churchyard of St. Innocents.
+
+"Man," said Sir Thomas Brown, "is a noble animal, splendid in ashes, and
+pompous in the grave." Why this should be so, it is not the province of
+this book to explain, nor even to justify the gorgeous and ill-mannered
+monuments which are often erected over his bones.
+
+
+[Illustration: PORTRAIT OF HENRY IV.]
+
+
+The catacombs of Paris are purposely ignored here, as appealing to a
+special variety of morbidity which is as unpleasant to deal with and to
+contemplate as are snakes preserved in spirit, and as would be--were we
+allowed to see them--the sacred human _reliques_ which are preserved, even
+to-day, at various pilgrims' shrines throughout the Christian world. That
+vast royal sepulchre of the abbey church of St. Denis, which had been so
+outrageously despoiled by the decree of the Convention in 1793, was in a
+measure set to rights by Louis XVIII., when he caused to be returned from
+the Petits Augustins, now the Palais des Beaux Arts, and elsewhere, such
+of the monuments as had not been actually destroyed. The actual spoliation
+of these shrines belongs to an earlier day than that of which this book
+deals.
+
+The history of it forms as lurid a chapter as any known to the records of
+riot and sacrilege in France; and the more the pity that the motion of
+Barrere ("_La main puissante de la R�publique doit effacer inpitoyablement
+ces epitaphes_") to destroy these royal tombs should have had official
+endorsement.
+
+The details of these barbarous exhumations were curious, but not edifying;
+the corpse of Turenne was exhibited around the city; Henri IV.--"his
+features still being perfect"--was kicked and bunted about like a
+football; Louis XIV. was found in a perfect preservation, but entirely
+black; Louis VIII. had been sewed up in a leather sack; and Fran�ois I.
+and his family "had become much decayed;" so, too, with many of the later
+Bourbons.
+
+In general these bodies were deposited in a common pit, which had been dug
+near the north entrance to the abbey, and thus, for the first time in the
+many centuries covered by the period of their respected demises, their
+dust was to mingle in a common blend, and all factions were to become one.
+
+Viollet-le-Duc, at the instruction of Napoleon III., set up again,
+following somewhat an approximation of the original plan, the various
+monuments which had been so thoroughly scattered, and which, since their
+return to the old abbey, had been herded together without a pretence at
+order in the crypt.
+
+Paris had for centuries been wretchedly supplied with _cimeti�res_. For
+long one only had existed, that of the churchyard of St. Innocents',
+originally a piece of the royal domain lying without the walls, and given
+by one of the French kings as a burial-place for the citizens, when
+interments within the city were forbidden.
+
+It has been calculated that from the time of Philippe-Auguste over a
+million bodies had been interred in these _fosses communes_.
+
+In 1785 the Council of State decreed that the cemetery should be cleared
+of its dead and converted into a market-place. Cleared it was not, but it
+has since become a market-place, and the waters of the Fontaine des
+Innocents filter briskly through the dust of the dead of ages.
+
+Sometime in the early part of the nineteenth century the funeral
+undertakings of Paris were conducted on a sliding scale of prices, ranging
+from four thousand francs in the first class, to as low as sixteen francs
+for the very poor; six classes in all.
+
+This law-ordered _tarif_ would seem to have been a good thing for
+posterity to have perpetuated.
+
+The artisan or craftsman who fashions the funeral monuments of Paris has a
+peculiar flight of fancy all his own; though, be it said, throughout the
+known world, funeral urns and monuments have seldom or never been
+beautiful, graceful, or even austere or dignified: they have, in fact,
+mostly been shocking travesties of the ideals and thoughts they should
+have represented.
+
+It is remarkable that the French architect and builder, who knows so well
+how to design and construct the habitation of living man, should express
+himself so badly in his bizarre funeral monuments and the tawdry tinsel
+wreaths and flowers of their decorations.
+
+An English visitor to Paris in the thirties deplored the fact that her
+cemeteries should be made into mere show-places, and perhaps rightly
+enough. At that time they served as a fashionable and polite avenue for
+promenades, and there was (perhaps even is to-day) a guide-book published
+of them, and, since grief is paradoxically and proverbially dry, there was
+always a battery of taverns and drinking-places flanking their entrances.
+
+It was observed by a writer in a Parisian journal of that day that "in the
+Cimeti�re du Montmartre--which was the deposit for the gay part of the
+city--nine tombs out of ten were to the memory of persons cut off in their
+youth; but that in P�re la Chaise--which served principally for the sober
+citizens of Paris--nine out of ten recorded the ages of persons who had
+attained a good old age."
+
+
+
+
+CHAPTER VII.
+
+WAYS AND MEANS OF COMMUNICATION
+
+
+The means of communication in and about Paris in former days was but a
+travesty on the methods of the "Metropolitain," which in our time
+literally whisks one like the wings of the morning, from the Arc de
+Triomphe to the Bois de Vincennes, and from the Place de la Nation to the
+Trocadero.
+
+In 1850 there were officially enumerated over twenty-eight hundred
+boulevards, avenues, _rues_, and passages, the most lively being St.
+Honor�, Richelieu, Vivienne, Castiglione, de l'Universit�,--Dumas lived
+here at No. 25, in a house formerly occupied by Chateaubriand, now the
+Magazin St. Thomas,--de la Chauss�e d'Antin, de la Paix, de Grenelle, de
+Bac, St. Denis, St. Martin, St. Antoine, and, above all, the Rue de
+Rivoli,--with a length of nearly three miles, distinguished at its
+westerly end by its great covered gallery, where the dwellings above are
+carried on a series of 287 arcades, flanked by _boutiques_, not very
+sumptuous to-day, to be sure, but even now a promenade of great
+popularity. At No. 22 Rue de Rivoli, near the Rue St. Roch, Dumas himself
+lived from 1838 to 1843.
+
+There were in those days more than a score of passages, being for the most
+part a series of fine galleries, in some instances taking the form of a
+rotunda, glass-covered, and surrounded by shops with _appartements_ above.
+The most notable were those known as the Panoramas Jouffroy, Vivienne,
+Colbert, de l'Opera, Delorme, du Saumon, etc.
+
+There were more than a hundred squares, or _places_--most of which remain
+to-day. The most famous on the right bank of the Seine are de la Concorde,
+Vendome, du Carrousel, du Palais Royal, des Victoires, du Ch�telet, de
+l'H�tel de Ville, Royale, des Vosges, and de la Bastille; on the left
+bank, du Panth�on, de St. Sulpice, du Palais Bourbon. Most of these
+radiating centres of life are found in Dumas' pages, the most frequent
+mention being in the D'Artagnan and Valois romances.
+
+Among the most beautiful and the most frequented thoroughfares were--and
+are--the tree-bordered quais, and, of course, the boulevards.
+
+The interior boulevards were laid out at the end of the seventeenth
+century on the ancient ramparts of the city, and extended from the
+Madeleine to La Bastille, a distance of perhaps three miles. They are
+mostly of a width of thirty-two metres (105 feet).
+
+This was the boulevard of the time _par excellence_, and its tree-bordered
+_all�es_--sidewalks and roadways--bore, throughout its comparatively short
+length, eleven different names, often changing meanwhile as it progressed
+its physiognomy as well.
+
+On the left bank, the interior boulevard was extended from the Jardin des
+Plantes to the H�tel des Invalides; while the "_boulevards ext�rieurs_"
+formed a second belt of tree-shaded thoroughfares of great extent.
+
+Yet other boulevards of ranking greatness cut the _rues_ and avenues
+tangently, now from one bank and then from the other; the most splendid of
+all being the Avenue de l'Op�ra, which, however, did not come into being
+until well after the middle of the century. Among these are best recalled
+S�bastopol, St. Germain, St. Martin, Magenta, Malesherbes, and others. The
+Place Malesherbes, which intersects the avenue, now contains the
+celebrated Dumas memorial by Dor�, and the neighbouring thoroughfare was
+the residence of Dumas from 1866 to 1870.
+
+Yet another class of thoroughfares, while conceived previous to the
+chronological limits which the title puts upon this book, were the vast
+and splendid promenades and rendezvous, with their trees, flowers, and
+fountains; such as the gardens of the Tuileries and the Luxembourg, the
+Champs Elys�es, the Esplanade des Invalides, and the Bois de Boulogne and
+de Vincennes.
+
+Dibdin tells of his _entr�e_ into Paris in the early days of the
+nineteenth century, having journeyed by "_malle-poste_" from Havre, in the
+pages of his memorable bibliographical tour.
+
+His observations somewhat antedate the Paris of Dumas and his fellows, but
+changes came but slowly, and therein may be found a wealth of
+arch�ological and topographical information concerning the French
+metropolis; though he does compare, detrimentally, the panorama of Paris
+which unrolls from the heights of Passy, to that of London from Highgate
+Woods.
+
+On the contrary, his impressions change after passing the barriers.
+"Nothing in London," says he, "can enter into comparison with the imposing
+spectacle which is presented by the magnificent Champs Elys�es, with the
+Ch�teau of the Tuileries _en face_, and to the right the superb dome of
+the Invalides glistening in the rays of the setting sun."
+
+Paris had at this time 2,948 "_voitures de louage_," which could be hired
+for any journey to be made within reasonable distance; and eighty-three
+which were run only on predetermined routes, as were the later omnibuses
+and tram-cars. These 2,948 carriages were further classified as follows;
+900 _fiacres_; 765 _cabriolets_, circulating in the twelve interior
+_arrondissements_; 406 _cabriolets_ for the exterior; 489 _carrosses de
+remise_ (livery-coaches), and 388 _cabriolets de remise_.
+
+The _pr�fet de police_, Count Angl�s, had received from one Godot, an
+_entrepreneur_,--a sort of early edition of what we know to-day as a
+company promoter,--a proposition to establish a line of omnibuses along
+the quais and boulevards. Authorization for the scheme was withheld for
+the somewhat doubtful reason that "the constant stoppage of the vehicles
+to set down and take up passengers would greatly embarrass other traffic;"
+and so a new idea was still-born into the world, to come to life only in
+1828, when another received the much coveted authority to make the
+experiment.
+
+Already such had been established in Bordeaux and Nantes, by an individual
+by the name of Baudry, and he it was who obtained the first concession in
+Paris.
+
+The first line inaugurated was divided into two sections: Rue de
+Lancry--Madeleine, and Rue de Lancry--Bastille.
+
+It is recorded that the young--but famous--Duchesse de Berry was the first
+to take passage in these "intramural _diligences_," which she called "_le
+carrosse des malheureux_;" perhaps with some truth, if something of
+snobbishness.
+
+There seems to have been a considerable difficulty in attracting a
+_client�le_ to this new means of communication. The public hesitated,
+though the prices of the places were decided in their favour, so much so
+that the enterprise came to an untimely end, or, at least, its founder
+did; for he committed suicide because of the non-instantaneous success of
+the scheme.
+
+The concession thereupon passed into other hands, and there was created a
+new type of vehicle of sixteen places, drawn by two horses, and priced at
+six sous the place. The new service met with immediate, if but partial,
+success, and with the establishment of new routes, each served by
+carriages of a distinctive colour, its permanence was assured.
+
+Then came the "_Dames Blanches_,"--the name being inspired by Boieldieu's
+opera,--which made the journey between the Porte St. Martin and the
+Madeleine in a quarter of an hour. They were painted a cream white, and
+drawn by a pair of white horses, coiffed with white plumes.
+
+After the establishment of the omnibus came other series of vehicles for
+public service: the "_Ecossaises_," with their gaudily variegated colours,
+the "_Carolines_," the "_Bearnaises_," and the "_Tricycles_," which ran on
+three wheels in order to escape the wheel-tax which obtained at the time.
+
+In spite of the rapid multiplication of omnibus lines under
+Louis-Philippe, their veritable success came only with the ingenious
+system of transfers, or "_la correspondance_;" a system and a convenience
+whereby one can travel throughout Paris for the price of one fare. From
+this reason alone, perhaps, the omnibus and tram system of Paris is
+unexcelled in all the world. This innovation dates, moreover, from 1836,
+and, accordingly, is no new thing, as many may suppose.
+
+Finally, more recently,--though it was during the Second Empire,--the
+different lines were fused under the title of the "Compagnie G�n�rale des
+Omnibus."
+
+"_La malle-poste_" was an institution of the greatest importance to Paris,
+though of course no more identified with it than with the other cities of
+France between which it ran. It dated actually from the period of the
+Revolution, and grew, and was modified, under the Restoration. It is said
+that its final development came during the reign of Louis XVIII., and grew
+out of his admiration for the "_�l�gance et la rapidit� des malles
+anglaises_," which had been duly impressed upon him during his sojourn in
+England.
+
+This may be so, and doubtless with some justification. _En passant_ it is
+curious to know, and, one may say, incredible to realize, that from the G.
+P. O. in London, in this year of enlightenment, there leaves each night
+various mail-coaches--for Dover, for Windsor, and perhaps elsewhere. They
+do not carry passengers, but they do give a very bad service in the
+delivery of certain classes of mail matter. The marvel is that such things
+are acknowledged as being fitting and proper to-day.
+
+In 1836 the "_malle-poste_" was reckoned, in Paris, as being _�l�gante et
+rapide_, having a speed of not less than sixteen kilometres an hour over
+give-and-take roads.
+
+Each evening, from the courtyard of the H�tel des Postes, the coaches
+left, with galloping horses and heavy loads, for the most extreme points
+of the frontier; eighty-six hours to Bordeaux at first, and finally
+only forty-four (in 1837); one hundred hours to Marseilles, later but
+sixty-eight.
+
+
+[Illustration: GRAND BUREAU DE LA POSTE]
+
+
+Stendhal tells of his journey by "_malle-poste_" from Paris to Marseilles
+in three days, and Victor Hugo has said that two nights on the road gave
+one a high idea of the _solidit�_ of the human machine; and further says,
+of a journey down the Loire, that he recalled only a great tower at
+Orleans, a candlelit _salle_ of an _auberge en route_, and, at Blois, a
+bridge with a cross upon it. "In reality, during the journey, animation
+was suspended."
+
+What we knew, or our forefathers knew, as the "_poste-chaise_," properly
+"_chaise de poste_," came in under the Restoration. All the world knows,
+or should know, Edouard Thierry's picturesque description of it. "_Le r�ve
+de nos vingt ans, la voiture o� l'on n'est que deux ... devant vous le
+chemin libre, la plaine, la pente rapide, le pont._" "You traverse cities
+and hamlets without number, by the _grands rues_, the _grande place_,
+etc."
+
+In April, 1837, Stendhal quitted Paris under exactly these conditions for
+his tour of France. He bought "_une bonne cal�che_," and left _via_
+Fontainebleau, Montargis, and Cosne. Two months after, however, he
+returned to the metropolis _via_ Bourges, having refused to continue his
+journey _en cal�che_, preferring the "_malle-poste_" and the _diligence_
+of his youth.
+
+Public _diligences_, however, had but limited accommodation on grand
+occasions; Victor Hugo, who had been invited to the consecration of
+Charles X. at Reims, and his friend, Charles Nodier, the
+bibliophile,--also a friend of Dumas, it is recalled,--in company with two
+others, made the attempt amid much discomfort in a private carriage,--of a
+sort,--and Nodier wittily tells of how he and Hugo walked on foot up all
+the hills, each carrying his gripsack as well.
+
+More than all others the "Coches d'Eau" are especially characteristic of
+Paris; those fly-boats, whose successors ply up and down the Seine, to the
+joy of Americans, the convenience of the Parisian public, and--it is
+surely allowable to say it--the disgust of Londoners, now that their aged
+and decrepit "Thames steamboats" are no more.
+
+These early Parisian "Coches d'Eau" carried passengers up and down river
+for surprisingly low fares, and left the city at seven in the morning in
+summer, and eight in winter.
+
+The following is a list of the most important routes:
+
+  Paris--Nogent-sur-Seine     2 days en route
+  Paris--Briare               3  "    "   "
+  Paris--Montereau            1  "    "   "
+  Paris--Sens                 2  "    "   "
+  Paris--Auxerre              4  "    "   "
+
+All of these services catered for passengers and goods, and were, if not
+rapid, certainly a popular and comfortable means of communication.
+
+An even more popular journey, and one which partook more particularly of a
+pleasure-trip, was that of the _galiote_, which left each day from below
+the Pont-Royal for St. Cloud, giving a day's outing by river which to-day,
+even, is the most fascinating of the many _petits voyages_ to be
+undertaken around Paris.
+
+The other recognized public means of communication between the metropolis
+and the provincial towns and cities were the "Messageries Royales," and
+two other similar companies, "La Compagne Lafitte et Caillard" and "Les
+Fran�aises."
+
+These companies put also before the Parisian public two other classes of
+vehicular accommodation, the "_pataches suspendues_," small carriages with
+but one horse, which ran between Paris and Strasburg, Metz, Nancy, and
+Lyons at the price of ten sous per hour.
+
+Again there was another means of travel which originated in Paris; it was
+known as the "Messageries � Cheval." Travellers rode _on_ horses, which
+were furnished by the company, their _bagages_ being transported in
+advance by a "_chariot_." In fine weather this must certainly have been an
+agreeable and romantic mode of travel in those days; what would be thought
+of it to-day, when one, if he does not fly over the kilometres in a
+Sud--or Orient--Express, is as likely as not covering the _Route
+Nationale_ at sixty or more kilometres the hour in an automobile, it is
+doubtful to say.
+
+Finally came the famous _diligence_, which to-day, outside the "Rollo"
+books and the reprints of old-time travel literature, is seldom met with
+in print.
+
+"These immense structures," says an observant French writer, "which lost
+sometimes their centre of gravity, in spite of all precaution and care on
+the part of the driver and the guard, were, by an _Ordonnance Royale_ of
+the 16th of July, 1828, limited as to their dimensions, weight, and
+design."
+
+Each _diligence_ carried as many spare parts as does a modern automobile,
+and workshops and supply-depots were situated at equal distances along the
+routes. Hugo said that the complexity of it all represented to him "the
+perfect image of a nation; its constitution and its government. In the
+_diligence_ was to be found, as in the state, the aristocracy in the
+coup�, the _bourgeoisie_ in the interior, the people in _la rotonde_, and,
+finally, 'the artists, the thinkers, and the unclassed' in the utmost
+height, the _imp�riale_, beside the _conducteur_, who represented the law
+of the state.
+
+"This great _diligence_, with its body painted in staring yellow, and its
+five horses, carries one in a diminutive space through all the sleeping
+villages and hamlets of the countryside."
+
+From Paris, in 1830, the journey by _diligence_ to Toulouse--182 French
+leagues--took eight days; to Rouen, thirteen hours; to Lyons, _par_
+Auxerre, four days, and to Calais, two and a half days.
+
+The _diligence_ was certainly an energetic mode of travel, but not without
+its discomforts, particularly in bad weather. Prosper Merim�e gave up his
+winter journey overland to Madrid in 1859, and took ship at Bordeaux for
+Alicante in Spain, because, as he says, "all the inside places had been
+taken for a month ahead."
+
+The coming of the _chemin de fer_ can hardly be dealt with here. Its
+advent is comparatively modern history, and is familiar to all.
+
+Paris, as might naturally be supposed, was the hub from which radiated the
+great spokes of iron which bound the uttermost frontiers intimately with
+the capital.
+
+There were three short lines of rail laid down in the provinces before
+Paris itself took up with the innovation: at Roanne, St.
+Etienne-Andr�zieux, Epinac, and Alais.
+
+By _la loi du 9 Juillet_, 1835, a line was built from Paris to St.
+Germain, seventeen kilometres, and its official opening for traffic, which
+took place two years later, was celebrated by a _d�jeuner de circonstance_
+at the Restaurant du Pavillon Henri Quatre at St. Germain.
+
+Then came "Le Nord" to Lille, Boulogne, and Calais; "L'Ouest" to Havre,
+Rouen, Cherbourg, and Brest; "L'Est" to Toul and Nancy; "L'Orleans" to
+Orleans and the Loire Valley; and, finally, the "P. L. M." (Paris-Lyon et
+M�diterran�e) to the south of France. "Then it was that Paris really
+became the rich neighbour of all the provincial towns and cities. Before,
+she had been a sort of pompous and distant relative"--as a whimsical
+Frenchman has put it.
+
+The mutability of time and the advent of mechanical traction is fast
+changing all things--in France and elsewhere. The Chevaux Blancs, Deux
+Pigeons, Cloches d'Or, and the H�tels de la Poste, de la Croix, and du
+Grand Cerf are fast disappearing from the large towns, and the way of iron
+is, or will be, a source of inspiration to the poets of the future, as has
+the _postillon_, the _diligence_, and the _chaise de poste_ in the past.
+Here is a quatrain written by a despairing _aubergiste_ of the little town
+of Salons, which indicates how the innovation was received by the
+provincials--in spite of its undeniable serviceability:
+
+  "En l'an neuf cent, machine lourde
+  A tretous farfit damne et mal,
+  Gens moult rioient d'icelle bourde,
+  Au campas renovoient cheval."
+
+The railways which centre upon Paris are indeed the ties that bind Paris
+to the rest of France, and vice versa. Their termini--the great
+_gares_--are at all times the very concentrated epitome of the life of the
+day.
+
+The new _gares_ of the P. L. M. and the Orleans railways are truly
+splendid and palatial establishments, with--at first glance--little of the
+odour of the railway about them, and much of the ceremonial appointments
+of a great civic institution; with gorgeous _salles � manger_,
+waiting-rooms, and--bearing the P. L. M. in mind in particular--not a
+little of the aspect of an art-gallery.
+
+The other _embarcad�res_ are less up-to-date--that vague term which we
+twentieth-century folk are wont to make use of in describing the latest
+innovations. The Gare St. Lazare is an enormous establishment, with a
+hotel appendage, which of itself is of great size; the Gare du Nord is
+equally imposing, but architecturally unbeautiful; while the Gare de l'Est
+still holds in its tympanum the melancholy symbolical figure of the late
+lamented Ville de Strasbourg, the companion in tears, one may say, of that
+other funereally decorated statue on the Place de la Concorde.
+
+Paris, too, is well served by her tramways propelled by horses,--which
+have not yet wholly disappeared,--and by steam and electricity, applied in
+a most ingenious manner. By this means Paris has indeed been transformed
+from its interior thoroughfares to its uttermost _banlieu_.
+
+The last two words on the subject have reference to the advent and
+development of the bicycle and the automobile, as swift, safe, and
+economical means of transport.
+
+The reign of the bicycle as a pure fad was comparatively short, whatever
+may have been its charm of infatuation. As a utile thing it is perhaps
+more worthy of consideration, for it cannot be denied that its
+development--and of its later gigantic offspring, the automobile--has had
+a great deal to do with the better construction and up-keep of modern
+roadways, whether urban or suburban.
+
+"_La petite reine bicyclette_" has been f�ted in light verse many times,
+but no one seems to have hit off its salient features as did Charles
+Monselet. Others have referred to riders of the "new means of locomotion"
+as "cads on casters," and a writer in _Le Gaulois_ stigmatized them as
+"_imb�ciles � roulettes_," which is much the same; while no less a
+personage than Francisque Sarcey demanded, in the journal _La France_,
+that the police should suppress forthwith this _eccentricit�_.
+
+Charles Monselet's eight short lines are more appreciative:
+
+  "Instrument raide
+  En fer battu
+  Qui d�poss�de
+  Le char torlu;
+  V�locip�de
+  Rail impromptu,
+  Fils d'Archim�de,
+  D'o� nous viens-tu?"
+
+Though it is apart from the era of Dumas, this discursion into a phase of
+present-day Paris is, perhaps, allowable in drawing a comparison between
+the city of to-day and that even of the Second Empire, which was, at its
+height, contemporary with Dumas' prime.
+
+If Paris was blooming suddenly forth into beauty and grace in the period
+which extended from the Revolution to the Franco-Prussian War, she has
+certainly, since that time, not ceased to shed her radiance; indeed, she
+flowers more abundantly than ever, though, truth to tell, it is all due to
+the patronage which the state has ever given, in France, to the fostering
+of the arts as well as industries.
+
+And so Paris has grown,--beautiful and great,--and the stranger within her
+gates, whether he come by road or rail, by automobile or railway-coach, is
+sure to be duly impressed with the fact that Paris is for one and all
+alike a city founded of and for the people.
+
+
+
+
+CHAPTER VIII.
+
+THE BANKS OF THE SEINE
+
+
+The city of the ancient Parisii is the one particular spot throughout the
+length of the sea-green Seine--that "winding river" whose name, says
+Thierry, in his "Histoire des Gaulois," is derived from a Celtic word
+having this signification--where is resuscitated the historical being of
+the entire French nation.
+
+Here it circles around the Ile St. Louis, cutting it apart from the Ile de
+la Cit�, and rushing up against the northern bank, periodically throws up
+a mass of gravelly sand, just in the precise spot where, in medi�val
+times, was an open market-place.
+
+Here the inhabitants of the city met the country dealers, who landed
+produce from their boats, traded, purchased, and sold, and departed whence
+they came, into the regions of the upper Seine or the Marne, or downward
+to the lower river cities of Meulan, Mantes, and Vernon.
+
+At this time Paris began rapidly to grow on each side of the stream, and
+became the great market or trading-place where the swains who lived
+up-river mingled with the hewers of wood from the forests of La Brie and
+the reapers of corn from the sunny plains of La Beauce.
+
+These country folk, it would appear, preferred the northern part of Paris
+to the southern--it was less ceremonious, less ecclesiastical. If they
+approached the city from rearward of the Universit�, by the Orleans
+highroad, they paid exorbitant toll to the Abbot of St. Germain des Pr�s.
+Here they paid considerably less to the Pr�v�t of Paris. And thus from
+very early times the distinction was made, and grew with advancing years,
+between the town, or La Ville, which distinguished it from the Cit� and
+the Universit�.
+
+This sandy river-bank gradually evolved itself into the Quai and Place de
+la Gr�ve,--its etymology will not be difficult to trace,--and endured in
+the full liberty of its olden functions as late as the day of Louis XV.
+Here might have been seen great stacks of firewood, charcoal, corn, wine,
+hay, and straw.
+
+
+[Illustration: THE OD�ON IN 1818]
+
+
+Aside from its artistic and economic value, the Seine plays no great part
+in the story of Paris. It does not divide what is glorious from what is
+sordid, as does "London's river." When one crosses any one of its
+numerous bridges, one does not exchange thriftiness and sublimity for the
+commonplace. Les Invalides, L'Institut, the Luxembourg, the Panth�on, the
+Od�on, the Universit�,--whose buildings cluster around the ancient
+Sorbonne,--the H�tel de Cluny, and the churches of St. Sulpice, St.
+Etienne du Mont, and St. Severin, and, last but not least, the Chamber of
+Deputies, all are on the south side of Paris, and do not shrink greatly in
+artistic or historical importance from Notre Dame, the Louvre, the Tour
+St. Jacques, the Place de la Bastille, the Palais Royal, or the
+Th��tre-Fran�ais.
+
+The greatest function of the Seine, when one tries to focus the memory on
+its past, is to recall to us that old Paris was a trinity. Born of the
+river itself rose the Cit�, the home of the Church and state, scarce
+finding room for her palaces and churches, while close to her side, on the
+south bank, the Universit� spread herself out, and on the right bank the
+Ville hummed with trade and became the home of the great municipal
+institutions.
+
+Dumas shifts the scenes of his Parisian romances first from one side to
+the other, but always his medi�val Paris is the same grand, luxurious, and
+lively stage setting. Certainly no historian could hope to have done
+better.
+
+Intrigue, riot, and bloodshed of course there were; and perhaps it may be
+thought in undue proportions. But did not the history of Paris itself
+furnish the romancer with these very essential details?
+
+At all events, there is no great sordidness or squalor perpetuated in
+Dumas' pages. Perhaps it is for this reason that they prove so readable,
+and their wearing qualities so great.
+
+There is in the reminiscence of history and the present aspect of the
+Seine, throughout its length, the material for the constructing a volume
+of bulk which should not lack either variety, picturesqueness, or
+interest. It furthermore is a subject which seems to have been shamefully
+neglected by writers of all ranks.
+
+Turner, of the brilliant palette, pictured many of its scenes, and his
+touring-companion wrote a more or less imaginative and wofully incorrect
+running commentary on the itinerary of the journey, as he did also of
+their descent of the Loire. Philip Gilbert Hamerton, accompanied by a
+series of charming pictures by Joseph Pennell (the first really artistic
+topographical illustrations ever put into the pages of a book), did the
+same for the Sa�ne; and, of course, the Thames has been "done" by many
+writers of all shades of ability, but manifestly the Seine, along whose
+banks lie the scenes of some of the most historic and momentous events of
+medi�val times, has been sadly neglected.
+
+Paris is divided into practically two equal parts by the swift-flowing
+current of the Seine, which winds its way in sundry convolutions from its
+source beyond Chatillon-sur-Seine to the sea at Honfleur.
+
+The praises of the winding river which connects Havre, Rouen, Vernon,
+Mantes, and Paris has often been sung, but the brief, virile description
+of it in the eighty-seventh chapter of Dumas' "Le Vicomte de Bragelonne"
+has scarcely been equalled. Apropos of the journey of Madame and
+Buckingham Paris-ward, after having taken leave of the English fleet at
+Havre, Dumas says of this greatest of French waterways:
+
+"The weather was fine. Spring cast its flowers and its perfumed foliage
+upon the path. Normandy, with its vast variety of vegetation, its blue
+sky, and silver rivers, displayed itself in all its loveliness."
+
+       *       *       *       *       *
+
+Through Paris its direction is from the southeast to the northwest, a
+distance, within the fortifications, of perhaps twelve kilometres.
+
+Two islands of size cut its currents: the Ile St. Louis and the Ile de la
+Cit�. A description of its banks, taken from a French work of the time,
+better defines its aspect immediately after the Revolution of 1848 than
+any amount of conjecture or present-day observation, so it is here given:
+
+"In its course through the metropolis, the Seine is bordered by a series
+of magnificent quais, which in turn are bordered by rows of sturdy trees.
+
+"The most attractive of these quais are those which flank the Louvre, the
+Tuileries, D'Orsay, Voltaire, and Conti.
+
+"Below the quais are deposed nine ports, or _gares_, each devoted to a
+special class of merchandise, as coal, wine, produce, timber, etc.
+
+"The north and south portions of the city are connected by twenty-six
+_ponts_ (this was in 1852; others have since been erected, which are
+mentioned elsewhere in the book).
+
+"Coming from the upper river, they were known as follows: the Ponts
+Napol�on, de Bercy, d'Austerlitz, the Passerelle de l'Estacade; then, on
+the right branch of the river, around the islands, the Ponts Maril,
+Louis-Philippe, d'Arcole, Notre Dame, and the Pont au Change; on the left
+branch, the Passerelle St. Louis or Constantine, the Ponts Tournelle, de
+la Cit�, de l'Archev�che, le Pont aux Doubles, le Petit Pont, and the Pont
+St. Michel; here the two branches join again: le Pont Neuf, des Arts, du
+Carrousel, Royal, Solferino, de la Concorde, des Invalides, de l'Alma, de
+Jena, and Grenelle.
+
+"Near the Pont d'Austerlitz the Seine receives the waters of the petite
+Rivi�re de Bi�vre, or des Gobelins, which traverses the faubourgs."
+
+Of the bridges of Paris, Dumas in his romances has not a little to say. It
+were not possible for a romanticist--or a realist, for that matter--to
+write of Paris and not be continually confronting his characters with one
+or another of the many splendid bridges which cross the Seine between
+Conflans-Charenton and Asni�res.
+
+In the "Mousquetaires" series, in the Valois romances, and in his later
+works of lesser import, mention of these fine old bridges continually
+recurs; more than all others the Pont Neuf, perhaps, or the Pont au
+Change.
+
+In "Pauline" there is a charming touch which we may take to smack somewhat
+of the author's own predilections and experiences. He says, concerning his
+embarkation upon a craft which he had hired at a little Norman
+fishing-village, as one jobs a carriage in Paris: "I set up to be a
+sailor, and served apprenticeship on a craft between the Pont des
+Tuileries and the Pont de la Concorde."
+
+Of the Seine bridges none is more historic than the Pont Neuf, usually
+reckoned as one of the finest in Europe; which recalls the fact that the
+French--ecclesiastic and laymen architects alike--were master
+bridge-builders. For proof of this one has only to recall the wonderful
+bridge of St. B�nezet d'Avignon, the fortified bridges of Orthos and
+Cahors, the bridge at Lyons, built by the Primate of Gaul himself, and
+many others throughout the length and breadth of France.
+
+The Pont Neuf was commenced in the reign of Henri III. (1578), and
+finished in the reign of Henri IV. (1604), and is composed of two unequal
+parts, which come to their juncture at the extremity of the Ile de la
+Cit�.
+
+In the early years a great bronze horse, known familiarly as the "Cheval
+de Bronze," but without a rider, was placed upon this bridge. During the
+Revolution, when cannon and ammunition were made out of any metal which
+could be obtained, this curious statue disappeared, though later its
+pedestal was replaced--under the Bourbons--by an equestrian statue of the
+Huguenot king.
+
+The Pont des Arts, while not usually accredited as a beautiful
+structure,--and certainly not comparable with many other of its
+fellows,--is interesting by reason of the fact that its nine iron arches,
+which led from the Quai du Louvre to the Quai de la Monnai, formed the
+first example of an iron bridge ever constructed in France. Its
+nomenclature is derived from the Louvre, which was then called--before the
+title was applied to the Coll�ge des Quatre Nations--the Palais des Arts.
+In Restoration times it was one of the fashionable promenades of Paris.
+
+The Pont au Change took its name from the _changeurs_, or money-brokers,
+who lived upon it during the reign of Louis le Jeune in 1141. It bridged
+the widest part of the Seine, and, after being destroyed by flood and fire
+in 1408, 1616, and 1621, was rebuilt in 1647. The houses which originally
+covered it were removed in 1788 by the order of Louis XVI. In "The
+Conspirators," Dumas places the opening scene at that end of the Pont Neuf
+which abuts on the Quai de l'�cole, and is precise enough, but in
+"Marguerite de Valois" he evidently confounds the Pont Neuf with the Pont
+au Change, when he puts into the mouth of Coconnas, the Piedmontese: "They
+who rob on the Pont Neuf are, then, like you, in the service of the king.
+_Mordi!_ I have been very unjust, sir; for until now I had taken them for
+thieves."
+
+The Pont Louis XV. was built in 1787 out of part of the material which was
+taken from the ruins of the Bastille.
+
+Latterly there has sprung up the new Pont Alexandre, commemorative of the
+Czar's visit to Paris, which for magnificent proportions, beauty of design
+and arrangement, quite overtops any other of its kind, in Paris or
+elsewhere.
+
+The quais which line the Seine as it runs through Paris are like no other
+quais in the known world. They are the very essence and epitome of certain
+phases of life which find no counterpart elsewhere.
+
+The following description of a bibliomaniac from Dumas' "M�moires" is
+unique and apropos:
+
+"Bibliomaniac, evolved from _book_ and _mania_, is a variety of the
+species man--_species bipes et genus homo_.
+
+"This animal has two feet and is without features, and usually wanders
+about the quais and boulevards, stopping in front of every stall and
+fingering all the books. He is generally dressed in a coat which is too
+long and trousers which are too short, his shoes are always down at heel,
+and on his head is an ill-shapen hat. One of the signs by which he may be
+recognized is shown by the fact that he never washes his hands."
+
+The booksellers' stalls of the quais of Paris are famous, though it is
+doubtful if genuine bargains exist there in great numbers. It is
+significant, however, that more volumes of Dumas' romances are offered
+for sale--so it seems to the passer-by--than of any other author.
+
+The Seine opposite the Louvre, and, indeed, throughout the length of its
+flow through Paris, enters largely into the scheme of the romances, where
+scenes are laid in the metropolis.
+
+Like the throng which stormed the walls of the Louvre on the night of the
+18th of August, 1527, during that splendid royal f�te, the account of
+which opens the pages of "Marguerite de Valois," the Seine itself
+resembles Dumas' description of the midnight crowd, which he likens to "a
+dark and rolling sea, each swell of which increases to a foaming wave;
+this sea, extending all along the quai, spent its waves at the base of the
+Louvre, on the one hand, and against the H�tel de Bourbon, which was
+opposite, on the other."
+
+In the chapter entitled "What Happened on the Night of the Twelfth of
+July," in "The Taking of the Bastille," Dumas writes of the banks of the
+Seine in this wise:
+
+"Once upon the quai, the two countrymen saw glittering on the bridge near
+the Tuileries the arms of another body of men, which, in all probability,
+was not a body of friends; they silently glided to the end of the quai,
+and descended the bank which leads along the Seine. The clock of the
+Tuileries was just then striking eleven.
+
+"When they had got beneath the trees which line the banks of the river,
+fine aspen-trees and poplars, which bathe their feet in its current, when
+they were lost to the sight of their pursuers, hid by their friendly
+foliage, the farmers and Pitou threw themselves on the grass and opened a
+council of war."
+
+Just previously the mob had battered down the gate of the Tuileries, as a
+means of escape from the pen in which the dragoons had crowded the
+populace.
+
+"'Tell me now, Father Billot,' inquired Pitou, after having carried the
+timber some thirty yards, 'are we going far in this way?'
+
+"'We are going as far as the gate of the Tuileries.'
+
+"'Ho, ho!' cried the crowd, who at once divined his intention.
+
+"And it made way for them more eagerly even than before.
+
+"Pitou looked about him, and saw that the gate was not more than thirty
+paces distant from them.
+
+"'I can reach it,' said he, with the brevity of a Pythagorean.
+
+"The labour was so much the easier to Pitou from five or six of the
+strongest of the crowd taking their share of the burden.
+
+"The result of this was a very notable acceleration in their progress.
+
+"In five minutes they had reached the iron gates.
+
+"'Come, now,' cried Billot, 'clap your shoulders to it, and all push
+together.'
+
+"'Good!' said Pitou. 'I understand now. We have just made a warlike
+engine; the Romans used to call it a ram.'
+
+"'Now, my boys,' cried Billot, 'once, twice, thrice,' and the joist,
+directed with a furious impetus, struck the lock of the gate with
+resounding violence.
+
+"The soldiers who were on guard in the interior of the garden hastened to
+resist this invasion. But at the third stroke the gate gave way, turning
+violently on its hinges, and through that gaping and gloomy mouth the
+crowd rushed impetuously.
+
+"From the movement that was then made, the Prince de Lambesq perceived at
+once that an opening had been effected which allowed the escape of those
+whom he had considered his prisoners. He was furious with disappointment."
+
+
+
+
+
+CHAPTER IX.
+
+THE SECOND EMPIRE AND AFTER
+
+
+The Revolution of 1848 narrowed itself down to the issue of Bourbonism or
+Bonapartism. Nobody had a good word to say for the constitution, and all
+parties took liberties with it. It was inaugurated as the most democratic
+of all possible charters. It gave a vote to everybody, women and children
+excepted. It affirmed liberty with so wide a latitude of interpretation as
+to leave nothing to be desired by the reddest Republican that ever wore
+pistols in his belt at the heels of the redoubtable M. Marc Caussidi�re,
+or expressed faith in the social Utopia of the enthusiastic M. Proudhon.
+Freedom to speak, to write, to assemble, and to vote,--all were secured to
+all Frenchmen by this marvellous charter. When it became the law of the
+land, everybody began to nibble at and destroy it. The right of speaking
+was speedily reduced to the narrowest limits, and the liberty of the
+press was pared down to the merest shred. The right of meeting was placed
+at the tender mercies of the prefect of police, and the right of voting
+was attacked with even more zeal and fervour. The Revolution proved more
+voracious than Saturn himself, in devouring its children, and it made
+short work of men and reputations. It reduced MM. de Lamartine, Armand
+Marrast, and General Cavaignac into nothingness; sent MM. Louis Blanc,
+Ledru Rollin, and Caussidi�re into the dreary exile of London, and
+consigned the fiery Barb�s, the vindictive Blanqui, the impatient Raspail,
+and a host of other regenerators of the human race, to the fastnesses of
+Vincennes. Having done this, the Revolution left scarcely a vestige of the
+constitution,--nothing but a few crumbs, and those were not crumbs of
+comfort, which remained merely to prove to the incredulous that such a
+thing as the constitution once existed.
+
+The former king and queen took hidden refuge in a small cottage at
+Honfleur, whence they were to depart a few days later for England--ever a
+refuge for exiled monarchists. Escape became very urgent, and the king,
+with an English passport in the name of William Smith, and the queen as
+Madame Lebrun, crossed over to Le Havre and ultimately to England.
+Lamartine evidently mistakes even the time and place of this incident,
+but newspaper accounts of the time, both French and English, are very full
+as to the details. On landing at the quai at Le Havre, the ex-royal party
+was conducted to the "Express" steam-packet, which had been placed at
+their disposal for the cross-channel journey. Dumas takes the very
+incident as a detail for his story of "Pauline," and his treatment thereof
+does not differ greatly from the facts as above set forth. Two years later
+(August 26, 1850), at Claremont, in Surrey, in the presence of the queen
+and several members of his family, Louis-Philippe died. He was the last of
+the Bourbons, with whom Dumas proudly claimed acquaintanceship, and as
+such, only a short time before, was one of the mightiest of the world's
+monarchs, standing on one of the loftiest pinnacles of an ambition which,
+in the mind of a stronger or more wilful personality, might have
+accomplished with success much that with him resulted in defeat.
+
+After the maelstrom of discontent--the Revolution of 1848--had settled
+down, there came a series of events well-nigh as disturbing. Events in
+Paris were rapidly ripening for a change. The known determination of Louis
+Napoleon to prolong his power, either as president for another term of
+four years, or for life, or as consul or emperor of the French, and the
+support which his pretensions received from large masses of the people and
+from the rank and file of the army, had brought him into collision with a
+rival--General Changarnier--almost as powerful as himself, and with an
+ambition quite as daring as his own.
+
+What Louis Napoleon wanted was evident. There was no secret about his
+designs. The partisans of Henri V. looked to Changarnier for the
+restoration of peace and legitimacy, and the Orleanists considered that he
+was the most likely man in France to bring back the house of Orleans, and
+the comfortable days of bribery, corruption, and a thriving trade; while
+the fat _bourgeoisie_ venerated him as the unflinching foe of the
+disturbers of order, and the great bulwark against Communism and the Red
+Republic.
+
+Still, this was manifestly not to be, though no one seemed to care a straw
+about Louis Napoleon's republic, or whether or no he dared to declare
+himself king or emperor, or whether they should be ruled by Bonapartist,
+Bourbon, or Orleanist.
+
+These were truly perilous times for France; and, though they did not
+culminate in disaster until twenty years after, Louis Napoleon availed
+himself of every opportunity to efface from the Second Republic, of which
+he was at this time the head, every vestige of the democratic features
+which it ought to have borne.
+
+At the same time he surrounded himself with imposing state and pomp, so
+regal in character that it was evidently intended to accustom the public
+to see in him the object of that homage which is usually reserved for
+crowned heads alone, and thus gradually and imperceptibly to prepare the
+nation to witness, without surprise, his assuming, when the favourable
+occasion offered, the purple and diadem of the empire.
+
+For instance, he took up his residence in the ancient palace of the
+sovereigns of France, the Tuileries, and gave banquets and balls of regal
+magnificence; he ordered his effigy to be struck upon the coinage of the
+nation, surrounded by the words "Louis Napoleon Bonaparte," without any
+title, whether as president or otherwise, being affixed. He restored the
+imperial eagles to the standards of the army; the official organ, the
+_Moniteur_, recommended the restoration of the titles and orders of
+hereditary nobility; the trees of liberty were uprooted everywhere; the
+Republican motto, "Liberty, Equality, Fraternity," was erased from the
+public edifices; the colossal statue of Liberty, surmounted by a Phrygian
+cap, which stood in the centre of the Place de Bourgogne, behind the
+Legislative Assembly, was demolished; and the old anti-Republican names of
+the streets were restored, so that the Palais National again became the
+Palais Royal; the Th��tre de la Nation, the Th��tre Fran�ais; the Rue de
+la Concorde, the Rue Royal, etc.; and, in short, to all appearances, Louis
+Napoleon began early in his tenure of office to assiduously pave the way
+to the throne of the empire as Napoleon III.
+
+
+[Illustration: PALAIS ROYAL, STREET FRONT]
+
+
+The _London Times_ correspondent of that day related a characteristic
+exercise of this sweeping instruction of the Minister of the Interior to
+erase the words "Libert�, Egalit�, Fraternit�" from all public buildings.
+(The three revolutionary watchwords had, in fact, been erased the previous
+year from the principal entrance to the Elys�e, and the words "R�publique
+Fran�aise," in large letters, were substituted.)
+
+"There is, I believe, only one public monument in Paris--the Ecole de
+Droit--where the workmen employed in effacing that inscription will have a
+double duty. They will have to interfere with the 'Liberalism' of two
+generations. Immediately under the coat of yellow paint which covered the
+fa�ade of the building, and on which time and the inclemency of the
+seasons have done their work, may still be traced, above the modern
+device, the following words, inscribed by order of the Commune of Paris
+during the Reign of Terror: 'Libert�, Egalit�, Fraternit�, Unit�,
+Indivisibilit� de la R�publique Fran�aise!' As the effacing of the
+inscription of 1848 is not now by means of whitewash or paint, but by
+erasure, both the inscriptions will disappear at the same moment."
+
+Among the most important demolitions and renovations of the sixties was
+the work undertaken on the Louvre at the orders of the ambitious emperor,
+Napoleon III. The structure was cloven to the foundations, through the
+slated roof, the gilded and painted ceiling, the parqueted floors; and,
+where one formerly enjoyed an artistic feast that had taken four centuries
+to provide, one gazed upon, from the pavement to the roof, a tarpaulin
+that closed a vista which might otherwise have been a quarter of a mile in
+length.
+
+Builders toiled day and night to connect the Louvre with the main body of
+the Palace of the Tuileries, which itself was to disappear within so short
+a time. Meanwhile so great a displacement of the art treasures was
+undergone, that _habitu�s_ knew not which way to turn for favourite
+pictures, with which the last fifty years had made them so familiar.
+
+To those of our elders who knew the Paris of the early fifties, the
+present-day aspect--in spite of all its glorious wealth of boulevards and
+architectural splendour--will suggest the mutability of all things.
+
+It serves our purpose, however, to realize that much of the character has
+gone from the Quartier Latin; that the Tuileries disappeared with the
+Commune, and that the old distinctions between Old Paris, the faubourgs,
+and the Communal Annexes, have become practically non-existent with the
+opening up of the Haussman boulevards, at the instigation of the wary
+Napoleon III. Paris is still, however, an "_ancienne ville et une ville
+neuve_," and the paradox is inexplicable.
+
+The differences between the past and the present are indeed great, but
+nowhere--not even in the Tower of London, which is usually given as an
+example of the contrast and progress of the ages--is a more tangible and
+specific opposition shown, than in what remains to-day of medi�val Paris,
+in juxtaposition with the later architectural embellishments. In many
+instances is seen the newest of the "_art nouveau_"--as it is popularly
+known--cheek by jowl with some medi�val shrine.
+
+It is difficult at this time to say what effect these swirls and blobs,
+which are daily thrusting themselves into every form of architectural
+display throughout Continental Europe, would have had on these masters
+who built the Gothic splendours of France, or even the hybrid _rococo_
+style, which, be it not denied, is in many instances beautiful in spite of
+its idiosyncrasies.
+
+       *       *       *       *       *
+
+To those who are familiar with the "sights" of Paris, there is nothing
+left but to study the aspects of the life of the streets, the boulevards,
+the quais, the gardens, the restaurants, and the caf�s. Here at least is
+to be found daily, and hourly, new sensations and old ones, but at all
+events it is an ever-shifting scene, such as no other city in the world
+knows.
+
+The life of the _faubourgs_ and of the _quartiers_ has ever been made the
+special province of artists and authors, and to wander through them, to
+sit beneath the trees of the squares and gardens, or even outside a caf�,
+is to contemplate, in no small degree, much of the incident and
+temperament of life which others have already perpetuated and made famous.
+
+There is little new or original effort which can be made, though once and
+again a new performer comes upon the stage,--a poet who sings songs of
+vagabondage, a painter who catches a fleeting impression, which at least,
+if not new, seems new. But in the main one has to hark back to former
+generations, if one would feel the real spirit of romance and tradition.
+There are few who, like Monet, can stop before a shrine and see in it
+forty-three varying moods--or some other incredible number, as did that
+artist when he limned his impressions of the fa�ade of the Cathedral of
+N�tre Dame de Rouen.
+
+Such landmarks as the Place de la Bastille, the Pantheon,--anciently the
+site of the Abbey de Ste. Genevi�ve,--the Chambre des D�put�s,--the former
+Palais Bourbon,--the Tour St. Jacques, the Fountain des Innocents, St.
+Germain l'Auxerrois, the Palais du Luxembourg, the Louvre, and quite all
+the historic and notable buildings one sees, are all pictured with
+fidelity, and more or less minuteness, in the pages of Dumas' romances.
+
+Again, in such other localities as the Boulevard des Italiens, the Caf� de
+Paris, the Th��tre Fran�ais, the Od�on, the Palais Royal,--where, in the
+"Orleans Bureau," Dumas found his first occupation in Paris,--took place
+many incidents of Dumas' life, which are of personal import.
+
+For recollections and reminders of the author's contemporaries, there are
+countless other localities too numerous to mention. In the Rue Pigalle, at
+No. 12, died Eugene Scribe; in the Rue de Douai lived Edmond About, while
+in the Rue d'Amsterdam, at No. 77, lived Dumas himself, and in the Rue St.
+Lazare, Madame George Sand. Montmartre is sacred to the name of Zola in
+the minds of most readers of latter-day French fiction, while many more
+famous names of all ranks, of litterateurs, of actors, of artists and
+statesmen,--all contemporaries and many of them friends of Dumas,--will be
+found on the tombstones of P�re la Chaise.
+
+The motive, then, to be deduced from these pages is that they are a record
+of many things associated with Alexandre Dumas, his life, and his work.
+Equally so is a fleeting itinerary of strolls around and about the Paris
+of Dumas' romances, with occasional journeys into the provinces.
+
+
+[Illustration: 77 Rue d'Amsterdam]
+
+[Illustration: Rue de St. Denis]
+
+
+Thus the centuries have done their work of extending and mingling,--"_le
+jeu est fait_," so to speak,--but Paris, by the necessities of her growth
+and by her rather general devotion to one stately, towering form of
+domestic architecture, has often made the separation of old from new
+peculiarly difficult to a casual eye. It is indeed her way to be new and
+splendid, to be always the bride of cities, espousing human destiny. And,
+truly, it is in this character that we do her homage with our visits, our
+money, and our admiration. Out of gray, unwieldy, distributed London
+one flies from a vast and romantic camp to a city exact and beautiful. So
+exact, so beautiful, so consistent in her vivacity, so neat in her
+industry, so splendid in her display, that one comes to think that the
+ultimate way to enjoy Paris is to pass unquestioning and unsolicitous into
+her life, exclaiming not "Look here," and "Look there" in a fever of
+sightseeing, but rather baring one's breast, like Daudet's _ouvrier_, to
+her assaults of glistening life.
+
+       *       *       *       *       *
+
+The Paris of to-day is a reconstructed Paris; its old splendours not
+wholly eradicated, but changed in all but their associations. The life of
+Paris, too, has undergone a similar evolution, from what it was even in
+Dumas' time.
+
+The celebrities of the Caf� de Paris have mostly, if not quite all, passed
+away. No more does the eccentric Prince Demidoff promulgate his
+eccentricities into the very faces of the onlookers; no more does the
+great Dumas make omelettes in golden sugar-bowls; and no more does he pass
+his criticisms--or was it encomiums?--on the _veau saut�_.
+
+The student revels of the _quartier_ have become more sedate, if not more
+fastidious, and there is no such Mardi Gras and Mi-Car�me festivities as
+used to hold forth on the boulevards in the forties. And on the Buttes
+Chaumont and Montmartre are found batteries of questionable
+amusements,--especially got up for the delectation of _les Anglais_,
+provincials, and soldiers off duty,--in place of the _cabarets_, which, if
+of doubtful morality, were at least a certain social factor.
+
+New bridges span the Seine, and new thoroughfares, from humble alleys to
+lordly and magnificent boulevards, have clarified many a slum, and
+brightened and sweetened the atmosphere; so there is some considerable
+gain there.
+
+The Parisian cabby is, as he always was, a devil-may-care sort of a
+fellow, who would as soon run you down with his sorry old outfit as not;
+but perhaps even his characteristics will change sooner or later, now that
+the automobile is upon us in all its proclaimed perfection.
+
+The "New Opera," that sumptuous structure which bears the inscription
+"Acad�mie Nationale de Musique," begun by Garnier in 1861, and completed a
+dozen years later, is, in its commanding situation and splendid
+appointments, the peer of any other in the world. In spite of this, its
+fame will hardly rival that of the Com�die Fran�aise, or even the Op�ra
+Comique of former days, and the names of latter-day stars will have
+difficulty in competing with those of Rachel, Talma, and their fellow
+actors on the stage of other days.
+
+Whom, if you please, have we to-day whose name and fame is as wide as
+those just mentioned? None, save Madame Bernhardt, who suggests to the
+well-informed person--who is a very considerable body--the pre�minent
+influences which formerly emanated from Paris in the fifties. But this of
+itself is a subject too vast for inclusion here, and it were better passed
+by. So, too, with the Parisian artists who made the art of the world in
+the latter half of the nineteenth century. Decamps, Delacroix, Corot, and
+Vernet are names with which to conjure up reminiscences as great as those
+of Rubens, Titian, and Van Dyke. This may be disputed, but, if one were
+given the same familiarity therewith, it is possible that one's contrary
+opinion would be greatly modified.
+
+To-day, in addition to the glorious art collection of former times, there
+are the splendid, though ever shifting, collections of the Mus�e du
+Luxembourg, the mural paintings of the H�tel de Ville, which are a gallery
+in themselves, and the two spring Salon exhibitions, to say nothing of the
+newly attempted Salon d'Automne. Curiously enough, some of us find great
+pleasure in the contemplation of the decorations in the interiors of the
+great _gares_ of the Lyons or the Orleans railways. Certainly these last
+examples of applied art are of a lavishness--and even excellence--which a
+former generation would not have thought of.
+
+The Arc de Triomphe d'�toile, of course, remains as it always has since
+its erection at the instigation of Napoleon I.; while the Bois de Boulogne
+came into existence as a municipal pleasure-ground only in the early
+fifties, and has since endured as the great open-air attraction of Paris
+for those who did not wish to go farther afield.
+
+The churches have not changed greatly in all this time, except that they
+had some narrow escapes during the Franco-Prussian War, and still narrower
+ones during the Commune. It may be remarked here _en passant_ that, for
+the first time in seventy years, so say the records, there has just been
+taken down the scaffolding which, in one part or another, has surrounded
+the church of St. Eustache. Here, then, is something tangible which has
+not changed until recently (March, 1904), since the days when Dumas first
+came to Paris.
+
+The Paris of the nineteenth century is, as might naturally be inferred,
+that of which the most is known; the eighteenth and seventeenth are indeed
+difficult to follow with accuracy as to the exact locale of their events;
+but the sixteenth looms up--curiously enough--more plainly than either of
+the two centuries which followed. The histories, and even the guide-books,
+will explain why this is so, so it shall have no place here.
+
+Order, of a sort, immediately came forth from out the chaos of the
+Revolution. The great Napoleon began the process, and, in a way, it was
+continued by the plebeian Louis-Philippe, elaborated in the Second Empire,
+and perfected--if a great capital such as Paris ever really is
+perfected--under the Third Republic.
+
+Improvement and demolition--which is not always improvement--still go on,
+and such of Old Paris as is not preserved by special effort is fast
+falling before the stride of progress.
+
+A body was organized in 1897, under the name of the "_Commission du Vieux
+Paris_," which is expected to do much good work in the preservation of the
+chronicles in stone of days long past.
+
+The very streets are noisy with the echo of an unpeaceful past; and their
+frequent and unexpected turnings, even in these modern days, are
+suggestive of their history in a most graphic manner.
+
+The square in front of the Fontaine des Innocents is but an ancient
+burial-ground; before the H�tel de Ville came Etienne Marcel; and
+Charlemagne to the cathedral; the Place de la Concorde was the death-bed
+of the Girondins, and the Place de la Madeleine the tomb of the Capetians;
+and thus it is that Paris--as does no other city--mingles its centuries of
+strife amid a life which is known as the most vigorous and varied of its
+age.
+
+To enter here into a detailed comparison between the charm of Paris of
+to-day and yesterday would indeed be a work of supererogation; and only in
+so far as it bears directly upon the scenes and incidents amid which Dumas
+lived is it so made.
+
+
+
+
+CHAPTER X.
+
+LA VILLE
+
+
+It would be impossible to form a precise topographical itinerary of the
+scenes of Dumas' romances and the wanderings of his characters, even in
+Paris itself. The area is so very wide, and the number of localities,
+which have more than an incidental interest, so very great, that the
+futility of such a task will at once be apparent.
+
+Probably the most prominent of all the romances, so far as identifying the
+scenes of their action goes, are the Valois series.
+
+As we know, Dumas was very fond of the romantic house of Valois, and,
+whether in town or country, he seemed to take an especial pride in
+presenting details of portraiture and place in a surprisingly complete,
+though not superfluous, manner.
+
+The Louvre has the most intimate connection with both the Valois and the
+D'Artagnan romances, and is treated elsewhere as a chapter by itself.
+
+Dumas' most marked reference to the H�tel de Ville is found in the taking
+of the Bastille, and, though it is not so very great, he gives prominence
+to the incident of the deputation of the people who waited upon De
+Flesselles, the pr�v�t, just before the march upon the Bastille.
+
+In history we know the same individual as "Messire Jacques de Flesselles,
+Chevalier, Conseiller de la Grande Chambre, Ma�tre Honoraire des Requ�tes,
+Conseiller d'Etat." The anecdote is recorded in history, too, that Louis
+XVI., when he visited the H�tel de Ville in 1789, was presented with a
+cockade of blue and red, the colours of the ville--the white was not added
+till some days later.
+
+_"Votre Majest�," dit le maire, "veut-elle accepte le signe distinctif des
+Fran�ais?"_
+
+For reply the king took the cockade and put it on his chapeau, entered the
+_grande salle_, and took his place on the throne.
+
+All the broils and turmoils which have taken place since the great
+Revolution, have likewise had the H�tel de Ville for the theatre where
+their first scenes were represented.
+
+It was invaded by the people during the Revolutions of 1830 and 1848, as
+well as in the Commune in 1871, when, in addition to the human fury, it
+was attacked by the flames, which finally brought about its
+destruction. Thus perished that noble structure, which owed its inception
+to that art-loving monarch, Fran�ois I.
+
+
+[Illustration: PLACE DE LA GR�VE]
+
+
+The present-day Quai de l'H�tel de Ville is the successor of the Quai des
+Ormes, which dates from the fourteenth century, and the Quai de la Gr�ve,
+which existed as early as 1254, and which descended by an easy slope to
+the strand from which it took its name.
+
+Adjoining the quai was the Place de la Gr�ve, which approximates the
+present Place de l'H�tel de Ville.
+
+A near neighbour of the H�tel de Ville is the Tour de St. Jacques la
+Boucherie, where sits to-day Paris's clerk of the weather.
+
+It was here that Marguerite de Valois, in company with the Duchesse de
+Nevers, repaired from their pilgrimage to the Cimeti�re des Innocents, to
+view the results of the Huguenot massacre of the preceding night.
+
+"'And where are you two going?' inquired Catherine, the queen's mother.
+'To see some rare and curious Greek books found at an old Protestant
+pastor's, and which have been taken to the Tour de St. Jacques la
+Boucherie,' replied the inquisitive and erudite Marguerite. For, be it
+recalled, her knowledge and liking of classical literature was most
+profound."
+
+This fine Gothic tower, which is still a notable landmark, is the only
+_relique_ of the Church of St. Jacques. A bull of Pope Calixtus II., dated
+1119, first makes mention of it, and Fran�ois I. made it a royal parish
+church.
+
+The tower itself was not built until 1508, having alone cost 1,350 livres.
+It has often been pictured and painted, and to-day it is a willing or
+unwilling sitter to most snap-shot camerists who come within focus of it,
+but no one has perceived the spirit of its genuine old-time flavour as did
+M�ryon, in his wonderful etching--so sought for by collectors--called "Le
+Stryge."
+
+The artist's view-point, taken from the gallery of N�tre Dame,--though in
+the early nineteenth century,--with the grotesque head and shoulders of
+one of those monstrous figures, half-man, half-beast, with which the
+galleries of N�tre Dame are peopled, preserves, with its very simplicity
+and directness, an impression of _Vieux Paris_ which is impossible to
+duplicate to-day.
+
+The Place de la Gr�ve was for a time, at least, the most famous or
+infamous of all the places of execution in Paris. One reads of it largely
+in "Marguerite de Valois" in this connection, and in "Le Vicomte de
+Bragelonne" it again crops up, but in a much more pleasant manner.
+
+
+[Illustration: TOUR DE ST. JACQUES LA BOUCHERIE
+
+(M�ryon's Etching, "Le Stryge")]
+
+
+Dumas, ever praiseful of good wine and good food, describes Vatel, the
+_ma�tre d'h�tel_ of Fouquet, as crossing the square with a hamper filled
+with bottles, which he had just purchased at the _cabaret_ of the sign of
+"L'Image de N�tre Dame;" a queer name for a wine-shop, no doubt, and,
+though it does not exist to-day, and so cannot be authenticated, it may
+likely enough have had an existence outside the novelist's page. At all
+events, it is placed definitely enough, as one learns from the chapter of
+"Le Vicomte de Bragelonne," entitled "The Wine of M. de la Fontaine."
+
+"'What the devil are you doing here, Vatel?' said Fouquet. 'Are you buying
+wine at a _cabaret_ in the Place de Gr�ve?'... 'I have found here,
+monsieur, a "_vin de Joigny_" which your friends like. This I know, as
+they come once a week to drink it at the "Image de N�tre Dame."'"
+
+In the following chapter Dumas reverts to the inglorious aspect of the
+Place and the Quai de la Gr�ve as follows:
+
+"At two o'clock the next day, fifty thousand spectators had taken their
+position upon the place, around two gibbets which had been elevated
+between the Quai de la Gr�ve and Quai Pelletier; one close to the other,
+with their backs to the parapet of the river. In the morning, also, all
+the sworn criers of the good city of Paris had traversed the quarters of
+the city, particularly the Halles and the faubourgs, announcing with their
+hoarse and indefatigable voices the great justice done by the king upon
+two peculators; two thieves, devourers of the people. And these people,
+whose interests were so warmly looked after, in order not to fail in
+respect for their king, quitted shops, stalls, and ateliers, to go and
+evince a little gratitude to Louis XIV., absolutely like invited guests,
+who feared to commit an impoliteness in not repairing to the house of him
+who invited them. According to the tenor of the sentence, which the criers
+read loudly and badly, two farmers of the revenues, monopolists of money,
+dilapidators of the royal provisions, extortioners and forgers, were about
+to undergo capital punishment on the Place de Gr�ve, with their names
+affixed over their heads, according to their sentence. As to those names,
+the sentence made no mention of them. The curiosity of the Parisians was
+at its height, and, as we have said, an immense crowd waited with feverish
+impatience the hour fixed for the execution."
+
+D'Artagnan, who, in the pages of "Le Vicomte de Bragelonne," was no more a
+young man, owned this very _cabaret_, the "Image de N�tre Dame." "'I will
+go, then,' says he, 'to the "Image de N�tre Dame," and drink a glass of
+Spanish wine with my tenant, which he cannot fail to offer me.'"
+
+_En route_ to the _cabaret_, D'Artagnan asked of his companion, "Is there
+a procession to-day?" "It is a hanging, monsieur." "What! a hanging on the
+Gr�ve? The devil take the rogue who gets himself hung the day I go to take
+my rent," said D'Artagnan.
+
+The old _mousquetaire_ did not get his rent, there was riot and bloodshed
+galore, "L'Image de N�tre Dame" was set on fire, and D'Artagnan had one
+more opportunity to cry out "_A moi, Mousquetaires_," and enter into a
+first-class fight; all, of course, on behalf of right and justice, for he
+saved two men, destined to be gibbeted, from the more frightful death of
+torture by fire, to which the fanatical crowd had condemned them.
+
+The most extensive reference to the Place de la Gr�ve is undoubtedly in
+the "Forty-Five Guardsmen," where is described the execution of Salc�de,
+the coiner of false money and the co-conspirator with the Guises.
+
+"M. Friard was right when he talked of one hundred thousand persons as the
+number of spectators who would meet on the Place de la Gr�ve and its
+environs, to witness the execution of Salc�de. All Paris appeared to have
+a rendezvous at the H�tel de Ville; and Paris is very exact, and never
+misses a f�te; and the death of a man is a f�te, especially when he has
+raised so many passions that some curse and others bless him.
+
+"The spectators who succeeded in reaching the place saw the archers and a
+large number of Swiss and light horse surrounding a little scaffold raised
+about four feet from the ground. It was so low as to be visible only to
+those immediately surrounding it, or to those who had windows overlooking
+the place. Four vigorous white horses beat the ground impatiently with
+their hoofs, to the great terror of the women, who had either chosen this
+place willingly, or had been forcibly pushed there.
+
+"These horses were unused, and had never done more work than to support,
+by some chance, on their broad backs, the chubby children of the peasants.
+After the scaffold and the horses, what next attracted all looks was the
+principal window of the H�tel de Ville, which was hung with red velvet and
+gold, and ornamented with the royal arms. This was for the king. Half-past
+one had just struck when this window was filled. First came Henri III.,
+pale, almost bald, although he was at that time only thirty-five, and with
+a sombre expression, always a mystery to his subjects, who, when they saw
+him appear, never knew whether to say '_Vive le roi!_' or to pray for his
+soul. He was dressed in black, without jewels or orders, and a single
+diamond shone in his cap, serving as a fastening to three short plumes. He
+carried in his hand a little black dog that his sister-in-law, Marie
+Stuart, had sent him from her prison, and on which his fingers looked as
+white as alabaster.
+
+"Behind the king came Catherine de Medici, almost bowed by age, for she
+might be sixty-six or sixty-seven, but still carrying her head firm and
+erect, and darting bitter glances from under her thick eyebrows. At her
+side appeared the melancholy but sweet face of the queen, Louise de
+Touraine. Catherine came as a triumph, she as a punishment. Behind them
+came two handsome young men, brothers, the eldest of whom smiled with
+wonderful beauty, and the younger with great melancholy. The one was Anne,
+Duc de Joyeuse, and the other Henri de Joyeuse, Comte de Bouchage. The
+people had for these favourites of the king none of the hatred which they
+had felt toward Maugiron, Quelus, and Schomberg.
+
+"Henri saluted the people gravely; then, turning to the young men, he
+said, 'Anne, lean against the tapestry; it may last a long time.'...
+
+"Henri, in anger, gave the sign. It was repeated, the cords were
+refastened, four men jumped on the horses, which, urged by violent blows,
+started off in opposite directions. A horrible cracking and a terrible cry
+was heard. The blood was seen to spout from the limbs of the unhappy man,
+whose face was no longer that of a man, but of a demon.
+
+"'Ah, heaven!' he cried; 'I will speak, I will tell all. Ah! cursed
+duch--'
+
+"The voice had been heard above everything, but suddenly it ceased.
+
+"'Stop, stop,' cried Catherine, 'let him speak.'
+
+"But it was too late; the head of Salc�de fell helplessly on one side, he
+glanced once more to where he had seen the page, and then expired."
+
+       *       *       *       *       *
+
+Near the H�tel de Ville is "Le Ch�telet," a name familiar enough to
+travellers about Paris. It is an omnibus centre, a station on the new
+"Metropolitan," and its name has been given to one of the most modern
+theatres of Paris.
+
+Dumas, in "Le Collier de la Reine," makes but little use of the old Prison
+du Grand Ch�telet, but he does not ignore it altogether, which seems to
+point to the fact that he has neglected very few historic buildings, or,
+for that matter, incidents of Paris in medi�val times, in compiling the
+famous D'Artagnan and Valois romances.
+
+The Place du Ch�telet is one of the most celebrated and historic open
+spots of Paris. The old prison was on the site of an old C�sarian forum.
+The prison was destroyed in 1806, but its history for seven centuries was
+one of the most dramatic.
+
+One may search for Planchet's shop, the "Pilon d'Or," of which Dumas
+writes in "The Vicomte de Bragelonne," in the Rue des Lombards of to-day,
+but he will not find it, though there are a dozen _boutiques_ in the
+little street which joins the present Rue St. Denis with the present
+Boulevard Sebastopol, which to all intents and purposes might as well have
+been the abode of D'Artagnan's old servitor.
+
+The Rue des Lombards, like Lombard Street in London, took its names from
+the original money-changers, who gathered here in great numbers in the
+twelfth century. Planchet's little shop was devoted to the sale of green
+groceries, with, presumably, a sprinkling of other attendant garnishings
+for the table.
+
+To-day, the most notable of the shops here, of a similar character, is the
+famous _magasin de confiserie_, "Au Fid�le Berger," for which Guilbert,
+the author of "Jeune Malade," made the original verses for the wrappers
+which covered the products of the house. A contemporary of the poet has
+said that the "_enveloppe �tait moins bonne que la marchandaise_."
+
+The reader may judge for himself. This is one of the verses:
+
+  "Le soleil peut s'eteindre et le ciel s'obscurcir,
+  J'ai vu ma Marita, je n'ai plus qu'� mourir."
+
+Every lover of Dumas' romances, and all who feel as though at one time or
+another they had been blessed with an intimate acquaintance with that
+"King of Cavaliers,"--D'Artagnan,--will have a fondness for the old narrow
+ways in the Rue d'Arbre Sec, which remains to-day much as it always was.
+
+It runs from the Quai de l'H�tel de Ville,--once the unsavoury Quai de la
+Gr�ve,--toward Les Halles; and throughout its length, which is not very
+great, it has that crazy, tumble-down appearance which comes, sooner or
+later, to most narrow thoroughfares of medi�val times.
+
+It is not so very picturesque nor so very tumble-down, it is simply
+wobbly. It is not, nor ever was, a pretentious thoroughfare, and, in
+short, is distinctly commonplace; but there is a little house, on the
+right-hand side, near the river, which will be famous as long as it
+stands, as the intimate scene of much of the minor action of "Marguerite
+de Valois," "Chicot the Jester," and others of the series.
+
+
+[Illustration: H�TEL DES MOUSQUETAIRES, RUE D'ARBRE SEC]
+
+
+This _maison_ is rather better off than most of its neighbours, with its
+white-fronted lower stories, its little balcony over the Cr�merie, which
+now occupies the ground-floor, and its escutcheon--a blazing sun--midway
+in its fa�ade.
+
+Moreover it is still a lodging-house,--an humble hotel if you like,--at
+any rate something more than a mere house which offers "_logement �
+pied_." Indeed its enterprising proprietor has erected a staring blue and
+white enamel sign which advertises his house:
+
+        H�TEL
+  DES MOUSQUETAIRES
+
+There is, perhaps, no harm in all this, as it would seem beyond all
+question to have some justification for its name, and it is above all
+something more tangible than the sites of many homes and haunts which may
+to-day be occupied with a modern _magasin_, _� tous g�nres_, or a great
+tourist caravanserai.
+
+This house bears the name of "H�tel des Mousquetaires," as if it were
+really a lineal descendant of the "H�tel de la Belle Etoile," of which
+Dumas writes.
+
+Probably it is not the same, and if it is, there is, likely enough, no
+significance between its present name and its former glory save that of
+perspicacity on the part of the present patron.
+
+From the romance one learns how Catherine de Medici sought to obtain that
+compromising note which was in possession of Orthon, the page. Dumas says
+of this horror-chamber of the Louvre:
+
+"Catherine now reached a second door, which, revolving on its hinges,
+admitted to the depths of the _oubliette_, where--crushed, bleeding, and
+mutilated, by a fall of more than one hundred feet--lay the still
+palpitating form of poor Orthon; while, on the other side of the wall
+forming the barrier of this dreadful spot, the waters of the Seine were
+heard to ripple by, brought by a species of subterraneous filtration to
+the foot of the staircase.
+
+"Having reached the damp and unwholesome abyss, which, during her reign,
+had witnessed numerous similar scenes to that now enacted, Catherine
+proceeded to search the corpse, eagerly drew forth the desired billet,
+ascertained by the lantern that it was the one she sought, then, pushing
+the mangled body from her, she pressed a spring, the bottom of the
+_oubliette_ sank down, and the corpse, borne by its own weight,
+disappeared toward the river.
+
+"Closing the door after her, she reascended; and, returning to her closet,
+read the paper poor Orthon had so valiantly defended. It was conceived in
+these words:
+
+     "'This evening at ten o'clock, Rue de l'Arbre-Sec, H�tel de la Belle
+     Etoile. Should you come, no reply is requisite; if otherwise, send
+     word back, _No_, by the bearer.
+
+          "'DE MOUY DE SAINT-PHALE.'
+
+"At eight o'clock Henri of Navarre took two of his gentlemen, went out by
+the Porte St. Honor�, entered again by the Tour de Bois, crossed the Seine
+at the ferry of the Nesle, mounted the Rue St. Jacques, and there
+dismissed them, as if he were going to an amorous rendezvous. At the
+corner of the Rue des Mathurins he found a man on horseback, wrapped in a
+large cloak; he approached him.
+
+"'Mantes!' said the man.
+
+"'Pau!' replied the king.
+
+"The horseman instantly dismounted. Henri wrapped himself in his splashed
+mantle, sprang on his steed, rode down the Rue de la Harpe, crossed the
+Pont St. Michel, passed the Rue Barthelemy, crossed the river again on
+the Pont au Meunier, descended the quais, reached the Rue de l'Arbre-Sec,
+and knocked at Ma�tre la Huri�re's."
+
+The route is easily traced to-day, and at the end of it is the H�tel des
+Mousquetaires, so it will not take much imagination to revivify the
+incident which Dumas conceived, though one may not get there that "good
+wine of Artois" which the innkeeper, La Huri�re, served to Henri.
+
+The circumstance is recounted in "Marguerite de Valois," as follows:
+
+"'La Huri�re, here is a gentleman wants you.'
+
+"La Huri�re advanced, and looked at Henri; and, as his large cloak did not
+inspire him with very great veneration:
+
+"'Who are you?' asked he.
+
+"'Eh, _sang Dieu_!' returned Henri, pointing to La Mole. 'I am, as the
+gentleman told you, a Gascon gentleman come to court.'
+
+"'What do you want?'
+
+"'A room and supper.'
+
+"'I do not let a room to any one, unless he has a lackey.'
+
+"'Oh, but I will pay you a rose noble for your room and supper.'
+
+"'You are very generous, worthy sir,' said La Huri�re, with some distrust.
+
+"'No; but expecting to sup here, I invited a friend of mine to meet me.
+Have you any good wine of Artois?'
+
+"'I have as good as the King of Navarre drinks.'
+
+"'Ah, good!'"
+
+The Rue de l'Arbre-Sec is of itself historic, though it was baptized as
+l'Arbre-Sel. Two legends of more than ordinary interest are connected with
+this once important though unimposing street. The first applies to its
+early nomenclature, and is to the effect that in the thirteenth century it
+contained an oak-tree, which, in the snows of winter, always remained free
+of the white blanket which otherwise covered everything around about. For
+this reason the tree was said to be so full of salt that the snow that
+fell upon it melted immediately, and the name was created for the
+thoroughfare, which then first rose to the dignity of a recognized _rue_.
+
+The second legend in a similar way accounts for the change of name to
+_arbre-sec_. At a certain rainy period, when the pavements and the walls
+of the houses were "_ruisselants d'eau_," the same tree remained
+absolutely dry. It is curious, too, to note that the Rue de l'Arbre-Sec is
+identified with a certain personage who lived in Mazarin's time, by the
+name of Mathieu Moll�, whose fame as the first president of the
+_Parlement_ is preserved in the neighbouring Rue Mathieu Moll�. It was in
+the hotel of "La Belle Etoile" that Dumas ensconced his character De la
+Mole--showing once again that Dumas dealt with very real characters.
+
+Opposite the colonnade of the Louvre is the �glise St. Germain
+l'Auxerrois. From this church--founded by Childebert in 606--rang out the
+tocsin which was the signal for that infamous massacre of the Protestants
+in the time of Charles IX. In "Marguerite de Valois" Dumas has vividly
+described the event; not, perhaps, without certain embroidered
+embellishment, but, nevertheless, with a graphicness which the dry-as-dust
+historian of fact could hardly hope to equal.
+
+This cruel inspiration of Catherine de Medici's is recorded by Dumas thus:
+
+"'Hush!' said La Huri�re.
+
+"'What is it?' inquired Coconnas and Maurevel together.
+
+"They heard the first stroke of the bell of St. Germain de l'Auxerrois
+vibrate.
+
+"'The signal!' exclaimed Maurevel. 'The time is put ahead, for it was
+agreed for midnight. So much the better. When it is the interest of God
+and the king, it is better that the clock should be put forward than
+backward.' And the sinister sound of the church-bell was distinctly heard.
+Then a shot was fired, and, in an instant, the light of several flambeaux
+blazed up like flashes of lightning in the Rue de l'Arbre-Sec."
+
+There is much more of moment that happened before and afterward "on this
+bloody ground;" all of which is fully recounted by the historians.
+
+       *       *       *       *       *
+
+At No. 7 Rue du Helder, just off the Boulevard des Italiens, in a region
+so well known to Dumas and his associates, lived De Franchi, the hero of
+the "Corsican Brothers." The _locale_ and the action of that rapid review
+of emotions to which Dumas gave the name of the "Corsican Brothers" ("Les
+Fr�res du Corse"), was not of the mean or sordid order, but rather of the
+well-to-do, a sort of semi-luxuriousness of the middle-class life of the
+time.
+
+The scene of the novelette bears the date of 1841, and Paris, especially
+in many of what are known as the newer parts, has changed but little
+since. A new shop-front here and there, the addition of a huge gilt sign,
+of which the proprietors of Parisian establishments are so fond, somewhat
+changes the outside aspect of things, but, on the whole, the _locale_
+often remains much as it was before, and, in this case, with but scarce
+three-quarters of a century past, the view down the Rue du Helder from
+its junction with Rue Taitbout differs little.
+
+"H�tel Picardie," in the Rue Tiquetonne,--still to be seen,--may or may
+not be the "La Chevrette" of "Twenty Years After," to which D'Artagnan
+repaired in the later years of his life. D'Artagnan's residence in the Rue
+Tiquetonne has, in the minds of many, made the street famous. It was
+famous, though, even before it was popularized by Dumas, and now that we
+are not able even to place the inn where D'Artagnan lived after he had
+retired from active service--it is still famous.
+
+At No. 12 and 16 are two grand habitations of former times. The former
+served as a residence to Henri de Talleyrand, who died in 1626, and later
+to the Marquis de Mauge, then to Daubonne, a _tapissier_, much in the
+favour of Louis XIII.
+
+The other is known as the "H�tel d'Artagnan," but it is difficult to trace
+its evolution from the comfortable inn of which Dumas wrote.
+
+
+[Illustration: D'ARTAGNAN'S LODGINGS, RUE TIQUETONNE]
+
+
+At No. 23 is about the only _relique_ left which bespeaks the gallant days
+of D'Artagnan and his fellows. It is a square tower of five _�tages_, and,
+from the character of its architecture, we know it to be of the fourteenth
+or fifteenth century. It is known as the "Tour de Jean-sans-Peur."
+Jean-sans-Peur was the grandfather of Charles-le-T�m�raire. Monstrelet
+has said that it was built to contain a strong chamber, in which its owner
+might sleep safely at night. It formed originally a part of the H�tel de
+Bourgogne, but to-day, though but partially disengaged from the
+neighbouring houses, it is evidently the only member of the original
+establishment which remains.
+
+Not far from the precincts of the Louvre was the Rue de la Martellerie,
+where lived Marie Touchet.
+
+The portraiture of Dumas forms a wonderfully complete list of the
+royalties and nobilities of France. Both the D'Artagnan gallery and the
+Valois series literally reek with the names of celebrated personages, and
+this, too, in the mere romances, for it must be remembered that, in spite
+of his reputation as a romancist, Dumas' historical sketches and travels
+were both numerous and of great extent.
+
+One significant portrait, though it is not one of noble birth, is that of
+Marie Touchet, extracted from "Marguerite de Valois," and reprinted here.
+
+"When Charles IX. and Henri of Navarre visited the Rue de la Martellerie,
+it was to see the celebrated Marie, who, though 'only a poor, simple
+girl,' as she referred to herself, was the Eve of Charles' paradise.
+'Your Eden, Sire,' said the gallant Henri.
+
+"'Dearest Marie,' said Charles, 'I have brought you another king happier
+than myself, for he has no crown; more unhappy than me, for he has no
+Marie Touchet.'
+
+"'Sire, it is, then, the King of Navarre?'
+
+"'It is, love.'
+
+"Henri went toward her, and Charles took his right hand.
+
+"'Look at this hand, Marie,' said he; 'it is the hand of a good brother
+and a loyal friend; and but for this hand--'
+
+"'Well, Sire!'
+
+"'But for this hand, this day, Marie, our boy had been fatherless.'
+
+"Marie uttered a cry, seized Henri's hand, and kissed it.
+
+"The king went to the bed where the child was still asleep.
+
+"'Eh!' said he, 'if this stout boy slept in the Louvre, instead of
+sleeping in this small house, he would change the aspect of things at
+present, and perhaps for the future.'
+
+"'Sire,' said Marie, 'without offence to your Majesty, I prefer his
+sleeping here; he sleeps better.'"
+
+This illustrates only one phase of Dumas' power of portraiture, based on
+historical fact, of course, and casting no new light on matters which are
+otherwise well known, but still a very fresh and vivifying method of
+projecting the features of those famous in the history of France, and a
+method, perhaps, which will serve to impress them upon the reader in a
+more nearly indelible fashion than any other.
+
+"It was this child of Marie Touchet and Charles IX. who afterward was the
+famous Duke d'Angoul�me, who died in 1650; and, had he been legitimate,
+would have taken precedence of Henri III., Henri IV., Louis XIII., Louis
+XIV., etc., and altered the whole line of the royal succession of France."
+
+It was a pleasurable visit for all three, that of which Dumas writes.
+
+Charles, Henri, and Marie supped together, and the accomplished Prince of
+B�arn made the famous anagram from the letters of the lady's name, "_Je
+charme tout_," which Charles declared he would present to her worked in
+diamonds, and that it should be her motto.
+
+History does not state that he did so, but no doubt that was a detail
+which the chroniclers have overlooked, or, of course, it may have been an
+interpolation of Dumas'.
+
+       *       *       *       *       *
+
+Dumas' pen-pictures of the great Napoleon--whom he referred to as "The
+Ogre of Corsica"--will hardly please the great Corsican's admirers, though
+it is in no manner contemptuous. The following is from "The Count of Monte
+Cristo":
+
+"'Monsieur,' said the baron to the count, 'all the servants of his Majesty
+must approve of the latest intelligence which we have from the island of
+Elba. Bonaparte--' M. Dandr� looked at Louis XVIII., who, employed in
+writing a note, did not even raise his head. 'Bonaparte,' continued the
+baron, 'is mortally wearied, and passes whole days in watching his miners
+at work at Porto-Longone.'
+
+"'And scratches himself for amusement,' added the king.
+
+"'Scratches himself?' inquired the count. 'What does your Majesty mean?'
+
+"'Yes, indeed, my dear count. Did you forget that this great man, this
+hero, this demigod, is attacked with a malady of the skin which worries
+him to death, _prurigo_?'
+
+"'And, moreover, M. le Comte,' continued the minister of police, 'we are
+almost assured that, in a very short time, the usurper will be insane.'
+
+"'Insane?'
+
+"'Insane to a degree; his head becomes weaker. Sometimes he weeps
+bitterly, sometimes laughs boisterously; at other times he passes hours on
+the seashore, flinging stones in the water, and when the flint makes
+"ducks and drakes" five or six times, he appears as delighted as if he had
+gained another Marengo or Austerlitz. Now, you must agree these are
+indubitable symptoms of weakness?'
+
+"'Or of wisdom, M. le Baron--or of wisdom,' said Louis XVIII., laughing;
+'the greatest captains of antiquity recreated themselves with casting
+pebbles into the ocean--see Plutarch's life of Scipio Africanus.'"
+
+Again, from the same work, the following estimate of Napoleon's position
+at Elba was, if not original, at least opinionated:
+
+"The emperor, now king of the petty isle of Elba, after having held
+sovereign sway over one-half of the world, counting us, his subjects, a
+small population of twenty millions,--after having been accustomed to hear
+the '_Vive Napol�ons_' of at least six times that number of human beings,
+uttered in nearly every language of the globe,--was looked upon among the
+_haute soci�t�_ of Marseilles as a ruined man, separated for ever from
+any fresh connection with France or claim to her throne."
+
+       *       *       *       *       *
+
+Firstly the Faubourg St. Denis is associated with Dumas' early life in
+Paris. He lived at No. 53 of the Rue du Faubourg St. Denis in 1824.
+
+When one walks past the Porte St. Denis and looks up at that
+seventeenth-century arch of triumph, built to commemorate the German
+victories of Louis Quatorze, one just misses the historical significance
+and architectural fitness of the arch. It is not merely an incident in the
+boulevard. It belongs not so much to the newer boulevard, as to the
+ancient Rue St. Denis, and it is only by proceeding some distance up this
+street, the ancient route of the pilgrims to the tomb of the saint, that
+the meaning of the Porte St. Denis can truly be appreciated. The arch may
+be heavy,--it has been described as hideous, and it truly is,--but seen in
+the Rue St. Denis, whose roadway passes under it, it forms a typical view
+even to-day of Old Paris, and of the Paris which entered so largely into
+Dumas' romances of the Louis.
+
+The more ancient Porte St. Denis, the gateway which lay between the
+faubourg, the plain, and the ville, performed a function quite different
+from that of the Renaissance gateway which exists to-day; in just what
+manner will be readily inferred when it is recalled that, with the Porte
+St. Antoine, the Porte St. Denis was the scene of much riot and bloodshed
+in the early history of Paris.
+
+
+[Illustration: 109 RUE DU FAUBOURG ST. DENIS (D�SCAMPS' STUDIO)]
+
+
+There are no tram-cars or omnibuses passing through its arch, as through
+the Place du Carrousel, or the courtyards of the Louvre, to take away the
+sentiment of romance; though the traffic which swirls and eddies around
+its sturdy piers and walls is of a manifest up-to-date, twentieth-century
+variety.
+
+Through its great arch runs the Rue du Faubourg St. Denis, where, at No.
+109, was the studio of Gabriel D�scamps, celebrated in "Capitaine
+Pamphile."
+
+       *       *       *       *       *
+
+In "Marguerite de Valois" we have a graphic reference--though rather more
+sentimental than was the author's wont--to the Cimeti�re des Innocents:
+
+"On the day which succeeded that terrible massacre of St. Bartholomew's
+night, in 1572, a hawthorn-tree," said Dumas, and it is also recognized
+history, as well, "which had blossomed in the spring, and which, according
+to custom, had lost its odorous flower in the month of June, had strangely
+reblossomed during the night, and the Catholics, who saw in this even a
+miracle, and who by rendering this miracle popular made the Deity their
+accomplice, went in procession, cross and banner at their head, to the
+Cemetery of the Innocents, where this hawthorn was blooming."
+
+Amidst the cries of "_Vive le roi!_" "_Vive la messe!_" "_Mort aux
+Huguenots_," the accomplished Marguerite herself went to witness the
+phenomenon.
+
+"When they reached the top of the Rue des Prouvelles, they met some men
+who were dragging a carcass without any head. It was that of 'the admiral'
+(Coligny).... The men were going to hang it by the feet at Montfaucon...."
+
+"They entered the Cemetery of St. Innocents, and the clergy, forewarned of
+the visit of the king and the queen mother, awaited their Majesties to
+harangue them."
+
+The cemetery--or signs of it--have now disappeared, though the mortal
+victims of the massacre, and countless other souls besides, rest beneath
+the flagstones adjacent to Les Halles, the great market-house of Paris.
+
+The Fontaine des Innocents formerly marked the site, but now it is removed
+to the other side of Les Halles.
+
+This graceful Renaissance fountain was first erected in 1550, from designs
+of Pierre Lescot and Jean Goujon. It stood formerly before the �glise des
+Innocents, which was demolished in 1783.
+
+The Fontaine des Innocents, in spite of its migrations, is a charming
+oasis of green trees and running water, in the midst of the rather
+encumbered market-square of Les Halles. Not that the region around about
+is at all unsavoury; far from it. There is d�bris of green vegetables and
+ripe fruits everywhere about, but it has not yet reached the unsavoury
+stage; before it does all will be swept away, and on the morrow the
+clamour and traffic will start fresh anew.
+
+The Place Royale, now called the Place des Vosges, is so largely
+identified with "La Comtesse de Charny" that no special mention can well
+be made of any action which here took place.
+
+At No. 21, now of course long since departed, lived "a gentleman entirely
+devoted to your Majesty," said Dumas, and the adventuress, Lady de Winter,
+whom D'Artagnan was wont to visit, was given domicile by Dumas at No. 6.
+Likely enough it was her true residence, though there is no opportunity of
+tracing it to-day, and one perforce must be satisfied with locating the
+houses of Madame de S�vign� and Victor Hugo, each of which bear tablets to
+that effect.
+
+The Place des Vosges is a charming square, reminiscent, in a way, of the
+courtyard of the Palais Royal, though lacking its splendour. The iron
+gateway to the central garden was a gift of Louis XIV., in 1685, when the
+square was known as the Place Royale. Richelieu caused to be set up here a
+magnificent equestrian statue of Louis XIII., which, however, was
+overturned in the Revolution, though it has since been replaced by another
+statue. The horse was the work of Ricciarelli de Volterre, a pupil of
+Michelangelo, and the figure was by Biard.
+
+The first great historical event held here was the _carrousel_ given in
+1612, two years after the tragic death of Henri IV. at the hands of the
+assassin Ravaillac. It was a function of Marie de Medici's to celebrate
+the alliance of France and Spain.
+
+Under Richelieu, the place became a celebrated duelling-ground, the most
+famous duel being that between the Duc de Guise and Coligny _fils_, the
+son of the admiral.
+
+The Place Royale soon became the most fashionable _quartier_, the houses
+around about being greatly in demand of the _noblesse_.
+
+Among its illustrious inhabitants have been the Rohans, the D'Al�gres,
+Corneille, Cond�, St. Vincent de Paul, Moli�re, Turenne, Madame de
+Longueville, Cinq-Mars, and Richelieu.
+
+By _un arr�t�_ of the 17th Ventose, year VII., it was declared that the
+name of the department which should pay the largest part of its
+contributions by the 20th Germinal would be given to that of the principal
+place or square of Paris. The Department of the Vosges was the first to
+pay up, and the Place Royale became the Place des Vosges.
+
+A great deal of the action of the D'Artagnan romances took place in the
+Place Royale, and in the neighbouring _quartiers_ of St. Antoine and La
+Bastille, the place being the scene of the notable reunion of the four
+gallants in "Vingt Ans Apr�s."
+
+La Roquette, the prison, has disappeared, like the Bastille itself, but
+they are both perpetuated to-day, the former in the Rue Roquette, and the
+latter in the Place de la Bastille.
+
+Dumas does not project their horrors unduly, though the Bastille crops up
+in many of the chapters of the Valois romances, and one entire volume is
+devoted to "The Taking of the Bastille."
+
+D'Artagnan himself was doomed, by an order of arrest issued by Richelieu,
+to be incarcerated therein; but the gallant _mousquetaire_, by a subtle
+scheme, got hold of the warrant and made a present of it to the intriguing
+cardinal himself.
+
+The sombre and sinister guillotine, since become so famous, is made by
+Dumas subject of a weirdly fascinating chapter in "La Comtesse de
+Charny." Dumas' description is as follows:
+
+"When Guilbert got out of the carriage he saw that he was in the court of
+a prison, and at once recognized it as the Bic�tre. A fine misty rain fell
+diagonally and stained the gray walls. In the middle of the court five or
+six carpenters, under the direction of a master workman, and a little man
+clad in black, who seemed to direct everybody, put a machine of a hitherto
+strange and unknown form. Guilbert shuddered; he recognized Doctor
+Guillotin, and the machine itself was the one of which he had seen a model
+in the cellar of the editor of '_l'ami du peuple_.'... The very workmen
+were as yet ignorant of the secret of this novel machine. 'There,' said
+Doctor Guillotin, ... 'it is now only necessary to put the knife in the
+groove.'... This was the form of the machine: a platform fifteen feet
+square, reached by a simple staircase, on each side of this platform two
+grooved uprights, ten or twelve feet high. In the grooves slid a kind of
+crescent-shaped knife. A little opening was made between two beams,
+through which a man's head could be passed.... 'Gentlemen,' said
+Guillotin, 'all being here, we will begin.'"
+
+Then follows the same vivid record of executing and blood-spurting that
+has attracted many other writers perhaps as gifted as Dumas, but none
+have told it more graphically, simply, or truthfully.
+
+       *       *       *       *       *
+
+Every one knows the Mount of Martyrs, its history, and its modern aspect,
+which has sadly degenerated of late.
+
+To-day it is simply a hilltop of cheap gaiety, whose patrons are catered
+for by the Moulin Rouge, the Moulin de la Galette, and a score of
+"eccentric caf�s," though its past is burdened with Christian tragedy. Up
+its slope St. Denis is fabulously supposed to have carried his head after
+his martyrdom, and the quiet, almost forlorn Rue St. Eleuth�re still
+perpetuates the name of his companion in misery. Long afterward, in the
+chapel erected on this spot, Ignatius Loyola and his companions solemnly
+vowed themselves to their great work. So here on sinful Montmartre, above
+Paris, was born the Society of Jesus. The Revolution saw another band of
+martyrs, when the nuns of the Abbaye de Montmartre, old and young, chanted
+their progress to the guillotine, and little more than thirty years ago
+the Commune precipitated its terrible struggle in Montmartre. It was in
+the Rue des Rosiers, on the 18th of March, 1871, that the blood of
+Generals Lecomte and Cl�ment-Thomas was shed.
+
+Hard by, in the Parc Monceau, is the statue of Guy de Maupassant, and so
+the memory of the sinful mount is perpetuated to us.
+
+Dumas did not make the use of this banal attribute of Paris that many
+other realists and romancists alike have done, but he frequently refers to
+it in his "M�moires."
+
+Madame de la Motte, the scheming adventuress of the "Collier de la Reine,"
+lived at No. 57 Rue Charlot, in the Quartier des Infants-Rouges. It was
+here, at the H�tel Boulainvilliers, where the Marquise de Boulainvilliers
+brought up the young girl of the blood royal of the Valois, who afterward
+became known as Madame de la Motte.
+
+Near by, in the same street, is the superb h�tel of Gabrielle d'Estr�es,
+who herself was not altogether unknown to the court. The Rue de Valois,
+leading from the Rue St. Honor� to the Rue Beaujolais, beside the Palais
+Royal, as might be supposed, especially appealed to Dumas, and he laid one
+of the most cheerful scenes of the "Chevalier d'Harmental" in the hotel,
+No. 10, built by Richelieu for L'Abb� Metel de Bois-Robert, the founder of
+the Acad�mie Fran�aise.
+
+Off the Rue Sourdi�re, was the Couloir St. Hyacinthe, where lived Jean
+Paul Marat--"the friend of the people," whose description by Dumas, in
+"La Comtesse de Charny," does not differ greatly from others of this
+notorious person.
+
+In the early pages of "The Count of Monte Cristo," one's attention is
+transferred from Marseilles to Paris, to No. 13 Rue Coq-H�ron, where lived
+M. Noirtier, to whom the luckless Dant�s was commissioned to deliver the
+fateful packet, which was left in his care by the dying Captain Leclerc.
+
+The incident of the handing over of this letter to the d�put� procureur du
+roi is recounted thus by Dumas:
+
+"'Stop a moment,' said the deputy, as Dant�s took his hat and gloves. 'To
+whom is it addressed?'
+
+"'To M. Noirtier, Rue Coq-H�ron, Paris.' Had a thunderbolt fallen into the
+room, Villefort could not have been more stupefied. He sank into his seat,
+and, hastily turning over the packet, drew forth the fatal letter, at
+which he glanced with an expression of terror.
+
+"'M. Noirtier, Rue Coq-H�ron, No. 13,' murmured he, growing still paler.
+
+"'Yes,' said Dant�s; 'do you then know him?'
+
+"'No,' replied Villefort; 'a faithful servant of the king does not know
+conspirators.'
+
+"'It is a conspiracy, then?' asked Dant�s, who, after believing himself
+free, now began to feel a tenfold alarm. 'I have already told you,
+however, sir, I was ignorant of the contents of the letter.'
+
+"'Yes, but you knew the name of the person to whom it was addressed,' said
+Villefort.
+
+"'I was forced to read the address to know to whom to give it.'
+
+"'Have you shown this letter to any one?' asked Villefort, becoming still
+more pale.
+
+"'To no one, on my honour.'
+
+"'Everybody is ignorant that you are the bearer of a letter from the isle
+of Elba, and addressed to M. Noirtier?'
+
+"'Everybody, except the person who gave it to me.'"
+
+       *       *       *       *       *
+
+The Rue Coq-H�ron is one of those whimsically named streets of Paris,
+which lend themselves to the art of the novelist.
+
+The origin of the name of this tiny street, which runs tangently off from
+the Rue du Louvre, is curious and na�ve. A shopkeeper of the street, who
+raised fowls, saw, one day, coming out of its shell, a _petit coq_ with a
+neck and beak quite different, and much longer, than the others of the
+same brood. Everybody said it was a heron, and the neighbours crowded
+around to see the phenomenon; and so the street came to be baptized the
+Rue Coq-H�ron.
+
+In the Rue Chauss�e d'Antin, at No. 7, the wily Baron Danglars had
+ensconced himself after his descent on Paris. It was here that Dant�s
+caused to be left his first "_carte de visite_" upon his subsequent
+arrival.
+
+Among the slighter works of Dumas, which are daily becoming more and more
+recognized--in English--as being masterpieces of their kind, is "Gabriel
+Lambert." It deals with the life of Paris of the thirties; much the same
+period as does "Captain Pamphile," "The Corsican Brothers," and "Pauline,"
+and that in which Dumas himself was just entering into the literary life
+of Paris.
+
+Like "Pauline" and "Captain Pamphile," too, the narrative, simple though
+it is,--at least it is not involved,--shifts its scenes the length and
+breadth of the continent of Europe, and shows a versatility in the
+construction of a latter-day romance which is quite the equal of that of
+the unapproachable medi�val romances. It further resembles "The Corsican
+Brothers," in that it purveys a duel of the first quality--this time in
+the All�e de la Muette of the Bois de Boulogne, and that most of the
+Parisians in the story are domiciled in and about the Boulevard des
+Italiens, the Rue Taitbout, and the Rue du Helder; all of them localities
+very familiar to Dumas in real life. In spite of the similarity of the
+duel of Gabriel to that of De Franchi, there is no repetition of scene or
+incident detail.
+
+The story deals frankly with the brutal and vulgar malefactor, in this
+case a counterfeiter of bank notes, one Gabriel, the son of a poor peasant
+of Normandy, who, it would appear, was fascinated by the ominous words of
+the inscription which French bank notes formerly bore.
+
+  LA LOI PUNIT DE MORT
+    LE CONTREFACTEUR
+
+Dumas occasionally took up a theme which, unpromising in itself, was yet
+alluring through its very lack of sympathy. "Gabriel Lambert" is a story
+of vulgar rascality unredeemed by any spark of courage, wit, or humanity.
+There is much of truth in the characterization, and some sentiment, but
+little enough of romance of the gallant vagabond order.
+
+Dumas never attempted a more difficult feat than the composition of an
+appealing story from this material.
+
+Twenty years after the first appearance of "Gabriel Lambert," in 1844, M.
+Am�d�e de Jallais brought Dumas a "scenario" taken from the romance.
+Unsuitable and unsympathetic though the principal character was, Dumas
+found the "scenario" so deftly made that he resolved to turn the book into
+a drama. This was quickly done, and the rehearsals promised a success. On
+the evening of the first performance Dumas showed himself full of
+confidence in the play--confidence which amounted almost to certainty; for
+he said to a friend with whom he promenaded the corridors of the theatre
+while awaiting the rise of the curtain: "I am sure of my piece; to-night,
+I can defy the critics." Some of these gentlemen, unfortunately
+overhearing him, were provoked to hostility, and, finding unhappy phrases
+here and there in the piece, they laid hold of them without mercy. Only
+the comic part of the drama, a scene introduced by Dumas, in which a
+vagabond steals a clock in the presence of its owner with superb audacity,
+disarmed their opposition. But the verve of this comic part could not save
+the play, says Gabriel Ferry, in narrating this anecdote. The antipathy
+aroused by the principal character doomed it, and the career of the piece
+was short.
+
+It remains, however,--in the book, at any rate,--a wonderful
+characterization, with its pictures of the blue Mediterranean at Toulon,
+the gay life of the Parisian boulevards, its miniature portrait of the
+great Vidocq, and the sinister account of the prison of Bic�tre, which,
+since the abandonment of the Place de la Gr�ve, had become the last resort
+of those condemned to death.
+
+The tale is a short one, but it vibrates between the _rues_ and the
+boulevards, from the H�tel de Venise in the Rue des Vieux-Augustins (now
+the Rue Herold), where Gabriel, upon coming to Paris, first had his
+lodgings, to the purlieus of the fashionable world,--the old Italian Opera
+in the Rue Pelletier,--and No. 11 Rue Taitbout, where afterward Gabriel
+had ensconced himself in a luxurious apartment.
+
+
+
+
+[Illustration: N�TRE DAME DE PARIS]
+
+
+CHAPTER XI.
+
+LA CIT�
+
+
+It is difficult to write of La Cit�; it is indeed, impossible to write of
+it with fulness, unless one were to devote a large volume--or many large
+volumes--to it alone.
+
+To the tourists it is mostly recalled as being the _berceau_ of N�tre Dame
+or the morgue. The latter, fortunately, is an entirely modern institution,
+and, though it existed in Dumas' own time, did not when the scenes of the
+D'Artagnan or Valois romances were laid.
+
+Looking toward N�tre Dame from the Pont du Carrousel, one feels a
+veritable thrill of emotion as one regards this city of kings and
+revolutions.
+
+The very buildings on the Ile de la Cit� mingle in a symphony of ashen
+memories. The statue of the great Henri IV., bowered in trees; the two old
+houses at the apex of the Place Dauphine, in one of which Madame Roland
+was born; the massive Palais de Justice; the soaring Sainte Chapelle,
+which St. Louis built for the Crown of Thorns, and "to the glory of God
+and France," and the towers of the Conciergerie, whose floor is for ever
+stained with the tears of Marie Antoinette.
+
+Romance and history have both set their seal upon the locality, and no one
+better than Dumas has told its story in romance.
+
+       *       *       *       *       *
+
+Henri of Navarre being Protestant, the Church would not open its doors to
+him, and thus his marriage to the talented but wicked Margot, sister of
+Charles IX., took place on a platform erected before its doors.
+
+In the opening chapter of "Marguerite de Valois," Dumas refers to it thus:
+
+"The court was celebrating the marriage of Madame Marguerite de Valois,
+daughter of Henri II. and sister of King Charles IX., with Henri de
+Bourbon, King of Navarre; and that same morning the Cardinal de Bourbon
+had united the young couple with the usual ceremonial observed at the
+marriages of the royal daughters of France, on a stage erected at the
+entrance to N�tre Dame. This marriage had astonished everybody, and
+occasioned much surmise to certain persons who saw clearer than others.
+They could not comprehend the union of two parties who hated each other
+so thoroughly as did, at this moment, the Protestant party and the
+Catholic party; and they wondered how the young Prince de Cond� could
+forgive the Duke d'Anjou, the king's father, for the death of his father,
+assassinated by Montesquieu at Jarnac. They asked how the young Duke de
+Guise could pardon Admiral de Coligny for the death of his father,
+assassinated at Orleans by Poltrot de M�re."
+
+
+[Illustration: _La Cit�_]
+
+
+       *       *       *       *       *
+
+The Tour de Nesle is one of those bygones of the history of Paris, which
+as a name is familiar to many, but which, after all, is a very vague
+memory.
+
+It perpetuates an event of bloodshed which is familiar enough, but there
+are no tangible remains to mark the former site of the tower, and only the
+name remains--now given to a short and unimportant _rue_.
+
+The use of the title "La Tour de Nesle," by Dumas, for a sort of
+second-hand article,--as he himself has said,--added little to his
+reputation as an author, or, rather, as a dramatist.
+
+In reality, he did no more than rebuild a romantic drama, such as he alone
+knows how to build, out of the framework which had been unsuccessfully
+put together by another--Gaillardet. However, it gives one other
+historical title to add to the already long list of his productions.
+
+       *       *       *       *       *
+
+The history of the Conciergerie is most lurid, and, withal, most emphatic,
+with regard to the political history of France. For the most part, it is
+more associated with political prisoners than with mere sordid crime, as,
+indeed, to a great extent were many of the prisons of France.
+
+The summer tourist connects it with Marie Antoinette; visits the "Cachot
+de Marie Antoinette;" the great hall where the Girondists awaited their
+fate; and passes on to the Palais des Beaux Arts, with never a thought as
+to the great political part that the old prison played in the monarchial
+history of France.
+
+To know it more fully, one should read Nogaret's "Histoire des Prisons de
+Paris." There will be found anecdotes and memoirs, "_rares et precieux_"
+and above all truthful.
+
+It has been eulogized, or, rather, anathematized in verse by Voltaire,--
+
+  "Exterminez, grandes Dieux, de la terre ou nous sommes
+  Quiconque avec plaisir repand le sang des hommes,"--
+
+and historians and romancists have made profuse use of the recollections
+which hang about its grim walls.
+
+To-day it stands for much that it formerly represented, but without the
+terrible inquisitorial methods. In fact, in the Palais de Justice, which
+now entirely surrounds all but the turreted fa�ade of tourelles, which
+fronts the Quai de l'Horloge, has so tempered its mercies that within the
+past year it has taken down that wonderful crucifix and triptych, so that
+those who may finally call upon the court of last appeal may not be unduly
+or superstitiously affected.
+
+The Place de la Gr�ve opposite was famous for something more than its
+commercial reputation, as readers of the Valois romances of Dumas, and of
+Hugo's "Dernier Jour d'un Condamn�" will recall. It was a veritable
+Gehenna, a sort of Tower Hill, where a series of events as dark and bloody
+as those of any spot in Europe held forth, from 1310, when a poor
+unfortunate, Marguerite Porette, was burned as a heretic, until
+1830,--well within the scope of this book,--when the headsmen, stakesmen,
+and hangmen, who had plied their trade here for five centuries, were
+abolished in favour of a less public _barri�re_ on the outskirts, or else
+the platform of the prison near the Cimeti�re du P�re la Chaise.
+
+It was in 1830 that a low thief and murderer, Lacenaire, who was brought
+to the scaffold for his crimes, published in one of the Parisian papers
+some verses which were intended to extract sympathy for him as _un homme
+de lettres_. In reality they were the work of a barrister, Lemarquier by
+name, and failed utterly of their purpose, though their graphic lines
+might well have evoked sympathy, had the hoax carried:
+
+  "Slow wanes the long night, when the criminal wakes;
+  And he curses the morn that his slumber breaks;
+        For he dream'd of other days.
+
+  "His eyes he may close,--but the cold icy touch
+  Of a frozen hand, and a corpse on his couch,
+        Still comes to wither his soul.
+
+  "And the headsman's voice, and hammer'd blows
+  Of nails that the jointed gibbet close,
+        And the solemn chant of the dead!"
+
+La Conciergerie was perhaps one of the greatest show-places of the city
+for the morbidly inclined, and permission _� visiter_ was at that time
+granted _avec toutes facilit�s_, being something more than is allowed
+to-day.
+
+The associations connected with this doleful building are great indeed, as
+all histories of France and the guide-books tell. It was in the chapel of
+this edifice that the victims of the Terror foregathered, to hear the
+names read out for execution, till all should have been made away.
+
+M�ller's painting in the Louvre depicts, with singular graphicness, this
+dreadful place of detention, where princes and princesses, counts,
+marquises, bishops, and all ranks were herded amid an excruciating agony.
+
+In "The Queen's Necklace" we read of the Conciergerie--as we do of the
+Bastille. When that gang of conspirators, headed by Madame de la
+Motte,--Jeanne de St. Remy de Valois,--appeared for trial, they were
+brought from the Bastille to the Conciergerie.
+
+After the trial all the prisoners were locked for the night in the
+Conciergerie, sentence not being pronounced till the following day.
+
+The public whipping and branding of Madame de la Motte in the Cour du
+Justice,--still the _cour_ where throngs pass and repass to the various
+court-rooms of the Palais de Justice,--as given by Dumas, is most
+realistically told, if briefly. It runs thus:
+
+"'Who is this man?' cried Jeanne, in a fright.
+
+"'The executioner, M. de Paris,' replied the registrar.
+
+"The two men then took hold of her to lead her out. They took her thus
+into the court called Cour de Justice, where was a scaffold, and which was
+crowded with spectators. On a platform, raised about eight feet, was a
+post garnished with iron rings, and with a ladder to mount to it. This
+place was surrounded with soldiers....
+
+"Numbers of the partisans of M. de Rohan had assembled to hoot her, and
+cries of '_A bas la Motte_, the forger!' were heard on every side, and
+those who tried to express pity for her were soon silenced. Then she cried
+in a loud voice, 'Do you know who I am? I am the blood of your kings. They
+strike in me, not a criminal, but a rival; not only a rival, but an
+accomplice. Yes,' repeated she, as the people kept silence to listen, 'an
+accomplice. They punish one who knows the secrets of--'
+
+"'Take care,' interrupted the executioner.
+
+"She turned and saw the executioner with the whip in his hand. At this
+sight she forgot her desire to captivate the multitude, and even her
+hatred, and, sinking on her knees, she said, 'Have pity!' and seized his
+hand; but he raised the other, and let the whip fall lightly on her
+shoulders. She jumped up, and was about to try and throw herself off the
+scaffold, when she saw the other man, who was drawing from a fire a hot
+iron. At this sight she uttered a perfect howl, which was echoed by the
+people.
+
+"'Help! help!' she cried, trying to shake off the cord with which they
+were tying her hands. The executioner at last forced her on her knees, and
+tore open her dress; but she cried, with a voice which was heard through
+all the tumult, 'Cowardly Frenchmen! you do not defend me, but let me be
+tortured; oh! it is my own fault. If I had said all I knew of the queen I
+should have been--'
+
+"She could say no more, for she was gagged by the attendants: then two men
+held her, while the executioner performed his office. At the touch of the
+iron she fainted, and was carried back insensible to the Conciergerie."
+
+
+
+
+CHAPTER XII.
+
+L'UNIVERSIT� QUARTIER
+
+
+L'Universit� is the _quartier_ which foregathered its components, more or
+less unconsciously, around the Sorbonne.
+
+To-day the name still means what it always did; the Ecole de M�dicine, the
+Ecole de Droit, the Beaux Arts, the Observatoire, and the student ateliers
+of the Latin Quarter, all go to make it something quite foreign to any
+other section of Paris.
+
+The present structure known as "The Sorbonne" was built by Richelieu in
+1629, as a sort of glorified successor to the ancient foundation of Robert
+de Sorbonne, confessor to St. Louis in 1253. The present Universit�, as an
+institution, was founded, among many other good and valuable things, which
+he has not always been given credit for, by the astute Napoleon I.
+
+       *       *       *       *       *
+
+With the work of the romancer, it is the unexpected that always happens.
+But this very unexpectedness is only another expression of naturalness;
+which raises the question: Is not the romancist more of a realist than is
+commonly supposed?
+
+Dumas often accomplished the unconventional, and often the miraculous, but
+the gallant attack of D'Artagnan and his three whilom adversaries against
+the Cardinal's Guard is by no means an impossible or unreasonable
+incident. Considering Dumas' ingenuity and freedom, it would be
+unreasonable to expect that things might not take the turn that they did.
+
+Of "Les Trois Mousquetaires" alone, the scheme of adventure and incident
+is as orderly and sagacious as though it had been laid down by the wily
+cardinal himself; and therein is Dumas' success as the romancist _par
+excellence_ of his time. A romancist who was at least enough of a realist
+to be natural, if unconventional.
+
+Dumas is supposed to have fallen from the heights scaled by means of "Les
+Trois Mousquetaires," when he wrote "Vingt Ans Apr�s." As a piece of
+literary workmanship, this perhaps is so; as a chronicle of great interest
+to the reader, who would trace the movement of its plot by existing stones
+and shrines, it is hardly the case.
+
+One can get up a wonderful enthusiasm for the old Luxembourg quarter,
+which the Gascon Don Quixote entered by one of the southern gates,
+astride his Rosinante. The whole neighbourhood abounds with reminiscences
+of the characters of the tale: D'Artagnan, with the Rue des Fossoyeurs,
+now the Rue Servandoni; Athos with the Rue Ferou; Aramis, with the Rue de
+la Harpe, and so on.
+
+There is, however, a certain tangible sentimentality connected with the
+adventures of Athos, Aramis, D'Artagnan, and Porthos in "Twenty Years
+After," that is not equalled by the earlier book, the reputed scenes of
+which have, to some extent, to be taken on faith.
+
+In "Vingt Ans Apr�s," the scene shifts rapidly and constantly: from the
+Rue Tiquetonne, in Paris, to the more luxurious precincts of the Palais
+Royal; countrywards to Compi�gne, to Pierrefonds--which ultimately came
+into the possession of Porthos; to England, even; and southward as far as
+Blois in Touraine, near to which was the country estate of Athos.
+
+At the corner of the Rue Vaugirard, which passes the front of the
+Luxembourg Palace, and the Rue Cassette, is the wall of the Carmelite
+Friary, where D'Artagnan repaired to fulfil his duelling engagements with
+the three musketeers of the company of De Treville, after the incidents of
+the shoulder of Athos, the baldric of Porthos, and the handkerchief of
+Aramis.
+
+
+[Illustration: CARMELITE FRIARY, RUE VAUGIRARD]
+
+
+Both sides of the river, and, indeed, the Cit� itself, are alive with the
+association of the King's Musketeers and the Cardinal's Guards; so much so
+that one, with even a most superficial knowledge of Paris and the
+D'Artagnan romances, cannot fail to follow the shifting of the scenes from
+the neighbourhood of the Palais du Luxembourg, in "Les Trois
+Mousquetaires," to the neighbourhood of the Palais Royal, in "Vingt Ans
+Apr�s" and the "Vicomte de Bragelonne."
+
+In "Le Vicomte de Bragelonne," the fraternal _mousquetaires_ take somewhat
+varying paths from those which they pursued in the first two volumes of
+the series. Porthos and Athos had arrived at distinction and wealth, and
+surrounded themselves accordingly; though, when they came to Paris, they
+were doubtless frequenters--at times--of their old haunts, but they had
+perforce to live up to their exalted stations.
+
+With D'Artagnan and Aramis this was not so true. D'Artagnan, it would
+seem, could not leave his beloved Palais Royal quarter, though his
+lodgings in the h�tel in the Rue Tiquetonne could have been in no way
+luxurious, judging from present-day appearances.
+
+In the Universit� quarter, running squarely up from the Seine is a short,
+unpretentious, though not unlovely, street--the Rue Guenegard.
+
+It runs by the H�tel de la Monnaie, and embouches on the Quai Conti, but
+if you ask for it from the average stroller on the quais, he will reply
+that he never heard of it.
+
+It was here, however, at "Au Grand Roi Charlemagne," "a respectable inn,"
+that Athos lived during his later years.
+
+In the course of three hundred years this inn has disappeared,--if it ever
+existed,--though there are two h�tels, now somewhat decrepit, on the short
+length of the street.
+
+Perhaps it was one of these,--the present H�tel de France, for
+instance,--but there are no existing records to tell us beyond doubt that
+this is so.
+
+There is another inn which Dumas mentions in "The Forty-Five Guardsmen,"
+not so famous, and not traceable to-day, but his description of it is
+highly interesting and amusing.
+
+"Near the Porte Buci," says Chapter VII. of the book before mentioned,
+"where we must now transport our readers, to follow some of their
+acquaintances, and to make new ones, a hum, like that in a beehive at
+sunset, was heard proceeding from a house tinted rose colour, and
+ornamented with blue and white pointings, which was known by the sign of
+'The Sword of the Brave Chevalier,' and which was an immense inn, recently
+built in this new quarter. This house was decorated to suit all tastes. On
+the entablature was painted a representation of a combat between an
+archangel and a dragon breathing flame and smoke, and in which the artist,
+animated by sentiments at once heroic and pious, had depicted in the hands
+of 'the brave chevalier,' not a sword, but an immense cross, with which he
+hacked in pieces the unlucky dragon, of which the bleeding pieces were
+seen lying on the ground. At the bottom of the picture crowds of
+spectators were represented raising their arms to heaven, while from above
+angels were extending over the chevalier laurels and palms. Then, as if to
+prove that he could paint in every style, the artist had grouped around
+gourds, grapes, a snail on a rose, and two rabbits, one white and the
+other gray.
+
+"Assuredly the proprietor must have been difficult to please, if he were
+not satisfied, for the artist had filled every inch of space--there was
+scarcely room to have added a caterpillar. In spite, however, of this
+attractive exterior, the h�tel did not prosper--it was never more than
+half full, though it was large and comfortable. Unfortunately, from its
+proximity to the Pr�-aux-Clercs, it was frequented by so many persons
+either going or ready to fight, that those more peaceably disposed avoided
+it. Indeed, the cupids with which the interior was decorated had been
+ornamented with moustaches in charcoal by the _habitu�s_; and Dame
+Fournichon, the landlady, always affirmed that the sign had brought them
+ill-luck, and that, had her wishes been attended to, and the painting
+represented more pleasing things, such as the rose-tree of love surrounded
+by flaming hearts, all tender couples would have flocked to them.
+
+"M. Fournichon, however, stuck to his sign, and replied that he preferred
+fighting men, and that one of them drank as much as six lovers."
+
+Dumas' reference to this curiously disposed "happy family" calls to mind
+the anecdote which he recounts in "The Taking of the Bastille," concerning
+salamanders:
+
+"The famous trunk, which had now been dignified with the name of desk, had
+become, thanks to its vastness, and the numerous compartments with which
+Pitou had decorated its interior, a sort of Noah's ark, containing a
+couple of every species of climbing, crawling, or flying reptiles. There
+were lizards, adders, ant-eaters, beetles, and frogs, which reptiles
+became so much dearer to Pitou from their being the cause of his being
+subjected to punishment more or less severe.
+
+"It was in his walks during the week that Pitou made collections for his
+menagerie. He had wished for salamanders, which were very popular at
+Villers-Cotter�ts, being the crest of Fran�ois I., and who had them
+sculptured on every chimneypiece in the ch�teau. He had succeeded in
+obtaining them; only one thing had strongly preoccupied his mind, and he
+ended by placing this thing among the number of those which were beyond
+his intelligence; it was, that he had constantly found in the water these
+reptiles which poets have pretended exist only in fire. This circumstance
+had given to Pitou, who was a lad of precise mind, a profound contempt for
+poets."
+
+       *       *       *       *       *
+
+Here, at "The Sword of the Brave Chevalier," first met the "Forty-Five
+Guardsmen." In the same street is, or was until recently, a modernized and
+vulgarized inn of similar name, which was more likely to have been an
+adaption from the pages of Dumas than a direct descendant of the original,
+if it ever existed. It is the H�tel la Tr�mouille, near the Luxembourg,
+that figures in the pages of "Les Trois Mousquetaires," but the h�tel of
+the Duc de Treville, in the Rue du Vieux-Colombier, has disappeared in a
+rebuilding or widening of this street, which runs from the Place de St.
+Sulpice to the Place de la Croix-Rouge.
+
+All these places centre around that famous _affaire_ which took place
+before the Carmelite establishment on the Rue Vaugirard: that gallant
+sword-play of Athos, Porthos, and Aramis,--helped by the not unwilling
+D'Artagnan,--against Richelieu's minions, headed by Jussac.
+
+Within the immediate neighbourhood, too, is much of the _locale_ of "Les
+Trois Mousquetaires." Here the four friends themselves lodged, "just
+around the corner, within two steps of the Luxembourg," though Porthos
+more specifically claimed his residence as in the Rue de Vieux-Colombier.
+"That is my abode," said he, as he proudly pointed to its gorgeous
+doorway.
+
+The H�tel de Chevreuse of "_la Frondeuse duchesse_," famed alike in
+history and the pages of Dumas, is yet to be seen in somewhat changed form
+at No. 201 Boulevard St. Germain; its garden cut away by the Boulevard
+Raspail.
+
+At No. 12 or 14 Rue des Fossoyeurs, beside the Panth�on,--still much as it
+was of yore,--was D'Artagnan's own "sort of a garret." One may not be able
+to exactly place it, but any of the decrepitly picturesque houses will
+answer the description.
+
+       *       *       *       *       *
+
+It is a wonderfully varied and interesting collection of buildings which
+is found on the height of Ste. Genevi�ve, overlooking the Jardin and
+Palais du Luxembourg: the hybrid St. Etienne du Mont, the pagan Panth�on,
+the tower of the ancient Abbaye de Ste. Genevi�ve, and the Biblioth�que,
+which also bears the name of Paris's patron saint.
+
+The old abbey must have had many and varied functions, if history and
+romance are to be believed, and to-day its tower and a few short lengths
+of wall, built into the Lyc�e Henri Quatre, are all that remain, unless it
+be that the crypt and dungeons, of which one reads in "Chicot the Jester,"
+are still existent. Probably they are, but, if so, they have most likely
+degenerated into mere lumber-rooms.
+
+The incident as given by Dumas relates briefly to the plot of the Guises
+to induce Charles IX., on the plea of some religious ceremony, to enter
+one of the monkish _caches_, and there compel him to sign his abdication.
+The plot, according to the novelist, was frustrated by the ingenious
+Chicot.
+
+At all events, the ensemble to-day is one most unusual, and the whole
+locality literally reeks with the associations of tradition.
+
+Architecturally it is a jumble, good in parts, but again shocking in other
+parts.
+
+The �glise St. Etienne du Mont is a weird contrast of architectural style,
+but its interior is truly beautiful, and on the wall near the south
+transept are two tablets, on which one may read the facts concerning Ste.
+Genevi�ve, which likely enough have for the moment been forgotten by most
+of us.
+
+The old abbey must have been a delightful place, in spite of the lurid
+picture which Dumas draws of it.
+
+       *       *       *       *       *
+
+Probably in none of Dumas' romances is there more lively action than in
+"The Queen's Necklace." The characters are in a continual migration
+between one and another of the faubourgs. Here, again, Dumas does not
+forget or ignore the Luxembourg and its environment. He seems, indeed, to
+have a special fondness for its neighbourhood. It was useful to him in
+most of the Valois series, and doubly so in the D'Artagnan romances.
+
+Beausire, one of the thieves who sought to steal the famous necklace,
+"took refuge in a small _cabaret_ in the Luxembourg quarter." The
+particular _cabaret_ is likely enough in existence to-day, as the event
+took place but a hundred years ago, and Dumas is known to have "drawn from
+life" even his pen-portraits of the _locale_ of his stories. At any rate,
+there is many a _cabaret_ near the Luxembourg which might fill the bill.
+
+The gardens of the Luxembourg were another favourite haunt of the
+characters of Dumas' romances, and in "The Queen's Necklace" they are made
+use of again, this time, as usual, as a suitable place for a promenade or
+a rendezvous of the fair Oliva, who so much resembled Marie Antoinette.
+
+       *       *       *       *       *
+
+Like the Rue du Helder, celebrated in "The Corsican Brothers," the Rue de
+Lille, where lived, at No. 29, De Franchi's friend, Adrien de Boissy, is
+possessed of an air of semi-luxuriousness, or, at any rate, of a certain
+middle-class comfort.
+
+It lies on the opposite side of the Seine from the river side of the
+Louvre, and runs just back of the site formerly occupied by the Duc de
+Montmorenci, where was held the gorgeous ceremony of the marriage of the
+Marquis St. Luc, of which one reads in "Chicot the Jester."
+
+There is not much of splendour or romance about the present-day Rue de
+Lille; indeed, it is rather commonplace, but as Dumas places the
+particular house in which De Boissy lived with definiteness, and,
+moreover, in that it exists to-day practically unaltered, there seems
+every good reason why it should be catalogued here.
+
+
+
+
+[Illustration: THE BUILDERS OF THE LOUVRE
+
+(1) Fran�ois I., _1546_; (2) Catherine de Medici, _1566-1578_; (3)
+Catherine de Medici, _1564_ (destroyed at the Commune); (4) Louis XIII.,
+_1524_; (5) Louis XIV., _1660-1670_; (6) Napoleon I., _1806_; (7) Louis
+XVIII., _1816_; (8) Napoleon III., _1852-1857_; (9) Napoleon III.,
+_1863-1868_.]
+
+
+CHAPTER XIII.
+
+THE LOUVRE
+
+"_Paris renferme beaucoup de palais; mais le vrai palais de Paris, le vrai
+palais de la France, tout le monde l'a nomm�,--c'est le Louvre._"
+
+
+Upon the first appearance of "Marguerite de Valois," a critic writing in
+_Blackwood's Magazine_, has chosen to commend Dumas' directness of plot
+and purpose in a manner which every lover of Dumas and student of history
+will not fail to appreciate. He says: "Dumas, according to his custom,
+introduces a vast array of characters, for the most part historical, all
+spiritedly drawn and well sustained. In various respects the author may be
+held up as an example to our own history-spoilers, and self-styled writers
+of historical romance. One does not find him profaning public edifices by
+causing all sorts of absurdities to pass, and of twaddle to be spoken,
+within their precincts; neither does he make his king and beggar,
+high-born dame and private soldier use the very same language, all
+equally tame, colourless, and devoid of character. The spirited and varied
+dialogue, in which his romances abound, illustrates and brings out the
+qualities and characteristics of his actors, and is not used for the sole
+purpose of making a chapter out of what would be better told in a page. In
+many instances, indeed, it would be difficult for him to tell his story,
+by the barest narrative, in fewer words than he does by pithy and pointed
+dialogue."
+
+No edifice in Paris itself, nor, indeed, in all France, is more closely
+identified with the characters and plots of Dumas' romances than the
+Louvre. In the Valois cycle alone, the personages are continually flocking
+and stalking thither; some mere puppets,--walking gentlemen and
+ladies,--but many more, even, who are personages so very real that even in
+the pages of Dumas one forgets that it is romance pure and simple, and is
+almost ready to accept his word as history. This it is not, as is well
+recognized, but still it is a pleasant manner of bringing before the
+omnivorous reader many facts which otherwise he might ignore or perhaps
+overlook.
+
+It really is not possible to particularize all the action of Dumas'
+romances which centred around the Louvre. To do so would be to write the
+medi�val history of the famous building, or to produce an analytical index
+to the works of Dumas which would somewhat approach in bulk the celebrated
+Chinese encyclop�dia.
+
+We learn from "Le Vicomte de Bragelonne" of D'Artagnan's great familiarity
+with the life which went on in the old ch�teau of the Louvre. "I will tell
+you where M. d'Artagnan is," said Raoul; "he is now in Paris; when on
+duty, he is to be met at the Louvre; when not so, in the Rue des
+Lombards."
+
+This describes the situation exactly: when the characters of the
+D'Artagnan and the Valois romances are not actually within the precincts
+of the Louvre, they have either just left it or are about to return
+thither, or some momentous event is being enacted there which bears upon
+the plot.
+
+Perhaps the most dramatic incident in connection with the Louvre mentioned
+by Dumas, was that of the massacre of St. Bartholomew's night, "that
+bloody deed which culminated from the great struggle which devastated
+France in the latter part of the sixteenth century."
+
+Dumas throws in his lot with such historians as Ranke and Soldain, who
+prefer to think that the massacre which took place on the f�te-day of St.
+Bartholomew was not the result of a long premeditated plot, but was
+rather the fruit of a momentary fanatical terror aroused by the
+unsuccessful attempt on the life of Coligny.
+
+This aspect is apart from the question. The principal fact with which the
+novelist and ourselves are concerned is that the event took place much as
+stated: that it was from the Louvre that the plot--if plot it
+were--emanated, and that the sounding bell of St. Germain l'Auxerrois did,
+on that fateful night, indicate to those present in the Louvre the fact
+that the bloody massacre had begun.
+
+The fabric itself--the work of many hands, at the instigation of so many
+minds--is an enduring monument to the fame of those who projected it, or
+who were memorialized thereby: Philippe-Auguste, Marie de Medici, Fran�ois
+I., Charles IX., Henri IV., Louis XIV., Napoleon I.,--who did but little,
+it is true,--and Napoleon III.--who did much, and did it badly.
+
+Besides history, bloody deeds, and intrigue, there is also much of
+sentiment to be gathered from an observation of its walls; as witness the
+sculptures and decorations of Goujon and Lescot, the interlaced monogram
+G. H., of Henri and Gabrielle d'Estr�es, and the superimposed crescents of
+the fair Diane de Poitiers. But such romances as these are best read in
+the pages of Dumas.
+
+"To the French the Louvre is more than a palace; it is a sanctuary," said
+an enthusiastic Frenchman. As such it is a shrine to be worshipped by
+itself, though it is pardonable to wish to know to-day just where and when
+the historic events of its career took place.
+
+One can trace the outline, in white marble, of the ancient Ch�teau du
+Louvre, in the easterly courtyard of the present establishment; can admire
+the justly celebrated eastern colonnade, though so defective was the
+architect in his original plans that it overlaps the side walls of the
+connecting buildings some dozen or more feet; can follow clearly all the
+various erections of monarchs and eras, and finally contemplate the tiny
+columns set about in the garden of the Tuileries, which mark all that is
+left of that ambitious edifice.
+
+The best description of the Tuileries by Dumas comes into the scene in
+"The Count of Monte Cristo," when Villefort,--who shares with Danglars and
+Fernand the distinction of being the villain of the piece,--after
+travelling with all speed from Marseilles to Paris, "penetrates the two or
+three apartments which precede it, and enters the small cabinet of the
+Tuileries with the arched window, so well known as having been the
+favourite cabinet of Napoleon and Louis XVIII., as also that of
+Louis-Philippe.
+
+"There, in this closet, seated before a walnut-tree table he had brought
+with him from Hartwell, and to which, from one of those fancies not
+uncommon to great people, he was particularly attached, the king, Louis
+XVIII., was carelessly listening to a man of fifty or fifty-two years of
+age, with gray hair, aristocratic bearing, and exceedingly gentlemanly
+attire, whilst he was making a note in a volume of Horace, Gryphius's
+edition, which was much indebted to the sagacious observations of the
+philosophical monarch."
+
+Of course, an author of to-day would have expressed it somewhat
+differently, but at the time in which Dumas wrote, the little cabinet did
+exist, and up to the time of the destruction of the palace, at the
+Commune, was doubtless as much of a showplace in its way as is the window
+of the Louvre from which Charles IX. was supposed to have fired upon the
+fleeing Huguenots--with this difference: that the cabinet had a real
+identity, while the window in question has been more recently ascertained
+as not having been built at the time of the event.
+
+       *       *       *       *       *
+
+Some one has mentioned Paris, the forgetter, as if modern Paris and its
+gay life--for assuredly it is gay, regardless of what the _blas�_ folk
+may say or think--had entirely blotted out from its memory the horrors of
+St. Bartholomew's night, the tragedies of La Roquette, the Conciergerie,
+or the Bastille.
+
+This is so in a measure, however, though one has only to cross the square
+which lies before Les Halles, La Tour St. Jacques, or Notre Dame, to
+recall most vividly the tragedies which have before been enacted there.
+
+The Louvre literally reeks with the intrigue and bloodshed of political
+and religious warfare; and Dumas' picture of the murder of the admiral,
+and his version of the somewhat apocryphal incident of Charles IX. potting
+at the Protestant victims, with a specially made and garnished firearm, is
+sufficiently convincing, when once read, to suggest the recollections, at
+least, of the heartless act. From the Louvre it is but a step--since the
+Tuileries has been destroyed--to the Place de la Concorde.
+
+When this great square, now given over to bird-fanciers, automobilists,
+and photograph-sellers, was first cleared, it was known as the Place de la
+R�volution. In the later volumes of the Valois romances one reads of a
+great calendar of scenes and incidents which were consummated here. It is
+too large a list to even catalogue, but one will recollect that here, in
+this statue surrounded place, with playing fountains glittering in the
+sunlight, is buried under a brilliance--very foreign to its former
+aspect--many a grim tragedy of profound political purport.
+
+It was here that Louis XVI. said, "I die innocent; I forgive my enemies,
+and pray God to avert his vengeance for my blood, and to bless my people."
+To-day one sees only the ornate space, the _voitures_ and automobiles, the
+tricolour floating high on the Louvre, and this forgetful Paris, brilliant
+with sunlight, green with trees, beautified by good government, which
+offers in its _kiosks_, caf�s, and theatres the fulness of the moment at
+every turn. Paris itself truly forgets, if one does not.
+
+       *       *       *       *       *
+
+The Louvre as it is known to-day is a highly intricate composition. Its
+various parts have grown, not under one hand, but from a common root,
+until it blossomed forth in its full glory when the western front of
+Catherine de Medici took form. Unfortunately, with its disappearance at
+the Commune the completeness of this elaborate edifice went for ever.
+
+One is apt to overlook the fact that the old Louvre, the _ancienne Palais
+du Louvre_, was a medi�val battlemented and turreted structure, which bore
+little resemblance to the Louvre of to-day, or even that of Charles,
+Henri, Catherine, or Marguerite, of whom Dumas wrote in the Valois
+romances.
+
+
+[Illustration: THE GARDENS OF THE TUILERIES]
+
+
+The general ground-plan of the two distinct portions is the same, except
+for some minor additions of Napoleon I. and the connecting links built by
+Napoleon III., and many of the apartments are of course much the same, but
+there has been a general laying out of the courts anew, and tree-planting
+and grading of the streets and quais in the immediate neighbourhood; so
+much so that almost the entire aspect is changed. In spite of its
+compositeness, there is a certain aspect of uniformity of outline, though
+not of excellence of design.
+
+The only relics of the Palace of the Tuileries are the colonnettes set
+about in the garden and surmounted by gilded balls.
+
+
+
+
+CHAPTER XIV.
+
+THE PALAIS ROYAL
+
+
+It seems hardly necessary to more than mention the name of the Palais
+Royal, in connection with either the life or the writings of Alexandre
+Dumas, to induce a line of thought which is practically limitless. It was
+identified with Dumas' first employment in the capital, and it has been
+the scene of much of the action of both the D'Artagnan and the Valois
+romances.
+
+More than all else, however, though one is apt to overlook it somewhat, it
+is so closely identified with Richelieu that it is difficult to separate
+it from any event of French political history of the period.
+
+It was built by Richelieu in 1629, on the site occupied by the H�tels de
+Mercoeur and Rambouillet, and was originally intended to have borne the
+name of H�tel Richelieu. Toward 1634 it was enlarged, and was known as the
+Palais Cardinal. Finally it was presented, in 1642, to Louis XIII., and at
+his death came to Anne of Austria, when the royal family removed thither
+and it became known as the Palais Royal.
+
+The incident of the flight of the royal family and Mazarin to St. Germain
+is one of the historic and dramatic incidents which Dumas used as one of
+the events in which D'Artagnan participated.
+
+The court never returned to make use of the Palais Royal as a royal
+residence, and it became the refuge of Henriette de France, Queen of
+England and widow of Charles I. Thirty years later Louis XIV., who had
+fled from its walls when a child, gave it to his nephew Philippe
+d'Orleans, Duc de Chartres.
+
+It was during the _R�gence_ that the famous _f�tes_ of the Palais Royal
+were organized,--they even extended to what the unsympathetic have called
+orgies,--but it is certain that no town residences of kings were ever as
+celebrated for their splendid functions as was the Palais Royal in the
+seventeenth century.
+
+In 1763 a fire brought about certain reconstructions at the expense of the
+city of Paris. In 1781, it became again the prey of fire; and
+Philippe-�galit�, who was then Duc de Chartres, constructed the three vast
+galleries which surround the Palais of to-day.
+
+The _boutiques_ of the galleries were let to merchants of all manner of
+foibles, and it became the most lively quarter of Paris.
+
+The public adopted the galleries as fashionable promenades, which became,
+for the time, "_un bazar europ�en et un rendez-vous d'affaires et de
+galanterie_."
+
+It was in 1783 that the Duc d'Orleans constructed "_une salle de
+spectacle_," which to-day is the Th��tre du Palais Royal, and in the
+middle of the garden a _cirque_ which ultimately came to be transformed
+into a restaurant.
+
+The purely theatrical event of the history of the Palais Royal came on the
+13th of July, 1789, when at midday--as the _coup_ of a _petit canon_ rang
+out--a young unknown _avocat_, Camille Desmoulins, mounted a chair and
+addressed the throng of promenaders in a thrilling and vibrant voice:
+
+"_Citoyens, j'arrive de Versailles!_--Necker is fled and the Baron
+Breteuil is in his place. Breteuil is one of those who have demanded the
+head of Mirabeau ... there remains but one resource, and that 'to arms'
+and to wear the cockade that we may be known. _Quelle couleur
+voulez-vous?_"
+
+With almost a common accord the tricolour was adopted--and the next day
+the Bastille fell.
+
+
+[Illustration: The Orleans Bureau, Palais Royal]
+
+
+Dumas' account of the incident, taken from "The Taking of the Bastille,"
+is as follows:
+
+"During this time the procession kept on advancing; it had moved obliquely
+to the left, and had gone down the Rue Montmartre to the Place des
+Victoires. When it reached the Palais Royal some great impediment
+prevented its passing on. A troop of men with green leaves in their hats
+were shouting 'To arms!'
+
+"It was necessary to reconnoitre. Were these men who blocked up the Rue
+Vivienne friends or enemies? Green was the colour of the Count d'Artois.
+Why then these green cockades?
+
+"After a minute's conference all was explained.
+
+"On learning the dismissal of Necker, a young man had issued from the Caf�
+Foy, had jumped upon a table in the garden of the Palais Royal, and,
+taking a pistol from his breast, had cried 'To arms!'
+
+"On hearing this cry, all the persons who were walking there had assembled
+around him, and had shouted 'To arms!'
+
+"We have already said that all the foreign regiments had been collected
+around Paris. One might have imagined that it was an invasion by the
+Austrians. The names of these regiments alarmed the ears of all Frenchmen;
+they were Reynac, Salis Samade, Diesbach, Esterhazy, Roemer; the very
+naming of them was sufficient to make the crowd understand that they were
+the names of enemies. The young man named them; he announced that the
+Swiss were encamped in the Champs Elys�es, with four pieces of artillery,
+and that they were to enter Paris the same night, preceded by the
+dragoons, commanded by Prince Lambesq. He proposed a new cockade which was
+not theirs, snatched a leaf from a chestnut-tree and placed it in the band
+of his hat. Upon the instant every one present followed his example. Three
+thousand persons had in ten minutes unleaved the trees of the Palais
+Royal.
+
+"That morning no one knew the name of that young man; in the evening it
+was in every mouth.
+
+"That young man's name was Camille Desmoulins."
+
+       *       *       *       *       *
+
+After 1793 the Palais Royal was converted, by decree, into the Palais et
+Jardin de la R�volution; and reunited to the domains of the state.
+Napoleon I. granted its use to the Tribunal for its seances, and Lucien
+Bonaparte inhabited it for the "Hundred Days." In 1830 Louis-Philippe, Duc
+d'Orleans, gave there a f�te in honour of the King of Naples, who had come
+to pay his respects to the King of France. Charles X. assisted as an
+invited guest at the function, but one month after he had inhabited it as
+king.
+
+Under Napoleon III. the Palais Royal was the residence of Prince Jerome,
+the uncle of the emperor, afterward that of his son the Prince Napoleon,
+when the _fleur-de-lis_ sculptured on the fa�ade gave way before
+escutcheons bearing the imperial eagles, which in turn have since given
+way to the Republican device of "'48"--"Libert�, �galit�, Fraternit�."
+
+       *       *       *       *       *
+
+It is with a remarkable profusion of detail--for Dumas, at any rate--that
+the fourteenth chapter of "The Conspirators" opens.
+
+It is a veritable guide-book phraseology and conciseness, which describes
+the streets of the Palais Royal quarter:
+
+"The evening of the same day, which was Sunday, toward eight o'clock, at
+the moment when a considerable group of men and women, assembled around a
+street singer, who was playing at the same time the cymbals with his knees
+and the tambourine with his hands, obstructed the entrance to the Rue de
+Valois, a musketeer and two of the light horse descended a back staircase
+of the Palais Royal, and advanced toward the Passage du Lyc�e, which, as
+every one knows, opened on to that street; but seeing the crowd which
+barred the way, the three soldiers stopped and appeared to take counsel.
+The result of their deliberation was doubtless that they must take
+another route, for the musketeer, setting the example of a new
+manoeuvre, threaded the Cour des Fontaines, turned the corner of the Rue
+des Bons Enfants, and, walking rapidly,--though he was extremely
+corpulent,--arrived at No. 22, which opened as by enchantment at his
+approach, and closed again on him and his two companions.
+
+"... The crowd dispersed. A great many men left the circle, singly, or two
+and two, turning toward each other with an imperceptible gesture of the
+hand, some by the Rue de Valois, some by the Cour des Fontaines, some by
+the Palais Royal itself, thus surrounding the Rue des Bons Enfants, which
+seemed to be the centre of the rendezvous."
+
+The locality has not changed greatly since the times of which Dumas wrote,
+and if one would see for himself this Rue de Bons Enfants, Num�ro 22, and
+try to find out how the Regent of France was able to climb over the
+roof-tops to the Palais Royal, for a wager, he may still do so, for
+apparently the roof-tops have changed but little. The especial connection
+of the Rue des Bons Enfants with literature is perhaps Sylvestre's
+establishment, which will, for a price, sell you almost any French
+celebrity's autograph, be he king, prince, painter, or litterateur.
+
+In the "Vicomte de Bragelonne" there is a wonderfully interesting chapter,
+which describes Mazarin's gaming-party at the Palais Royal.
+
+In that it enters somewhat more into detail than is usual with Dumas, it
+appears worth quoting here, if only for its description of the furnishing
+of the _salle_ in which the event took place, and its most graphic and
+truthful picture of the great cardinal himself:
+
+"In a large chamber of the Palais Royal, covered with a dark-coloured
+velvet, which threw into strong relief the gilded frames of a great number
+of magnificent pictures, on the evening of the arrival of the two
+Frenchmen, the whole court was assembled before the alcove of M. le
+Cardinal de Mazarin, who gave a party, for the purposes of play, to the
+king and queen. A small screen separated three prepared tables. At one of
+these tables the king and the two queens were seated. Louis XIV., placed
+opposite to the young queen, his wife, smiled upon her with an expression
+of real happiness. Anne of Austria held the cards against the cardinal,
+and her daughter-in-law assisted her in her game, when she was not engaged
+in smiling at her husband. As for the cardinal, who was reclining on his
+bed, his cards were held by the Comtesse de Soissons, and he watched them
+with an incessant look of interest and cupidity.
+
+"The cardinal had been painted by Bernouin; but the rouge, which glowed
+only on his cheeks, threw into stronger contrast the sickly pallor of the
+rest of his countenance and the shining yellow of his brow. His eyes alone
+acquired a more lively expression from this auxiliary, and upon those sick
+man's eyes were, from time to time, turned the uneasy looks of the king,
+the queen, and the courtiers. The fact is, that the two eyes of Mazarin
+were the stars more or less brilliant in which the France of the
+seventeenth century read its destiny every evening and every morning.
+Monseigneur neither won nor lost; he was, therefore, neither gay nor sad.
+It was a stagnation in which, full of pity for him, Anne of Austria would
+not have willingly left him; but in order to attract the attention of the
+sick man by some brilliant stroke, she must have either won or lost. To
+win would have been dangerous, because Mazarin would have changed his
+indifference for an ugly grimace; to lose would likewise have been
+dangerous, because she must have cheated, and the Infanta, who watched her
+game, would, doubtless, have exclaimed against her partiality for Mazarin.
+Profiting by this calm, the courtiers were chatting. When not in a bad
+humour, M. de Mazarin was a very debonnaire prince, and he, who prevented
+nobody from singing, provided they paid, was not tyrant enough to prevent
+people from talking, provided they made up their minds to lose. They were
+chatting, then. At the first table, the king's younger brother, Philip,
+Duc d'Anjou, was admiring his handsome face in the glass of a box. His
+favourite, the Chevalier de Lorraine, leaning over the _fauteuil_ of the
+prince, was listening, with secret envy, to the Comte de Guiche, another
+of Philip's favourites, who was relating in choice terms the various
+vicissitudes of fortune of the royal adventurer, Charles II. He told, as
+so many fabulous events, all the history of his peregrinations in
+Scotland, and his terrors when the enemy's party was so closely on his
+track; of nights passed in trees, and days passed in hunger and combats.
+By degrees, the fate of the unfortunate king interested his auditors so
+greatly, that the play languished even at the royal table, and the young
+king, with a pensive look and downcast eye, followed, without appearing to
+give any attention to it, the smallest details of this Odyssey, very
+picturesquely related by the Comte de Guiche."
+
+       *       *       *       *       *
+
+Again mention of the Palais Royal enters into the action of "The Queen's
+Necklace." When Madame de la Motte and her companion were _en route_ to
+Versailles by cabriolet, "they met a delay at the gates of the Palais
+Royal, where, in a courtyard, which had been thrown open, were a host of
+beggars crowding around fires which had been lighted there, and receiving
+soup, which the servants of M. le Duc d'Orleans were distributing to them
+in earthen basins; and as in Paris a crowd collects to see everything, the
+number of the spectators of this scene far exceeded that of the actors.
+
+"Here, then, they were again obliged to stop, and, to their dismay, began
+to hear distinctly from behind loud cries of 'Down with the cabriolet!
+down with those that crush the poor!'
+
+"'Can it be that those cries are addressed to us?' said the elder lady to
+her companion.
+
+"'Indeed, madame, I fear so,' she replied.
+
+"'Have we, do you think, run over any one?'
+
+"'I am sure you have not.'
+
+"'To the magistrate! to the magistrate!' cried several voices.
+
+"'What in heaven's name does it all mean?' said the lady.
+
+"'The crowd reproaches you, madame, with having braved the police order
+which appeared this morning, prohibiting all cabriolets from driving
+through the streets until the spring.'"
+
+This must have been something considerable of an embargo on pleasure, and
+one which would hardly obtain to-day, though asphalted pavements covered
+with a film of frost must offer untold dangers, as compared with the
+streets of Paris as they were then--in the latter years of the eighteenth
+century.
+
+
+
+
+CHAPTER XV.
+
+THE BASTILLE
+
+
+The worshipper at the shrines made famous by Dumas--no less than
+history--will look in vain for the prison of La Roquette, the Bastille,
+the h�tel of the Duc de Guise, at No. 12 Rue du Chaume, that of Coligny in
+the Rue de Bethusy, or of the Montmorencies, "near the Louvre."
+
+They existed, of course, in reality, as they did in the Valois romances,
+but to-day they have disappeared, and not even the "_Commission des
+Monuments Historiques_" has preserved a pictorial representation of the
+three latter.
+
+One of Dumas' most absorbing romances deals with the fateful events which
+culminated at the Bastille on the 14th Thermidor, 1789. "This monument,
+this seal of feudality, imprinted on the forehead of Paris," said Dumas,
+"was the Bastille," and those who know French history know that he wrote
+truly.
+
+The action of "The Taking of the Bastille," so far as it deals with the
+actual assault upon it, is brief. So was the event itself. Dumas romances
+but little in this instance; he went direct to fact for his details. He
+says:
+
+"When once a man became acquainted with the Bastille, by order of the
+king, that man was forgotten, sequestrated, interred, annihilated....
+
+"Moreover, in France there was not only one Bastille; there were twenty
+other Bastilles, which were called Fort l'Ev�que, St. Lazare, the
+Ch�telet, the Conciergerie, Vincennes, the Castle of La Roche, the Castle
+of If, the Isles of St. Marguerite, Pignerolles, etc.
+
+"Only the fortress at the Gate St. Antoine was called _the Bastille_, as
+_Rome_ was called _the_ city....
+
+"During nearly a whole century the governorship of the Bastille had
+continued in one and the same family.
+
+"The grandfather of this elect race was M. de Chateauneuf; his son
+Lavrilli�re succeeded him, who, in turn, was succeeded by his grandson,
+St. Florentin. The dynasty became extinct in 1777....
+
+"Among the prisoners, it will be recollected, the following were of the
+greatest note:
+
+"The Iron Mask, Lauzun, Latude.
+
+"The Jesuits were connoisseurs; for greater security they confessed the
+prisoners.
+
+"For greater security still, the prisoners were buried under
+supposititious names.
+
+"The Iron Mask, it will be remembered, was buried under the name of
+Marchiali. He had remained forty-five years in prison.
+
+"Lauzun remained there fourteen years.
+
+"Latude, thirty years....
+
+"But, at all events, the Iron Mask and Lauzun had committed heinous
+crimes.
+
+"The Iron Mask, whether brother or not of Louis XIV., it is asserted,
+resembled King Louis XIV. so strongly, that it was almost impossible to
+distinguish the one from the other.
+
+"It is exceedingly imprudent to dare to resemble a king.
+
+"Lauzun had been very near marrying, or did actually marry, the Grande
+Mademoiselle.
+
+"It is exceedingly imprudent to dare to marry the niece of King Louis
+XIII., the granddaughter of Henri IV.
+
+"But Latude, poor devil, what had he done?
+
+"He had dared to fall in love with Mlle. Poisson, Dame de Pompadour, the
+king's mistress.
+
+"He had written a note to her.
+
+"This note, which a respectable woman would have sent back to the man who
+wrote it, was handed by Madame de Pompadour to M. de Sartines, the
+lieutenant-general of police."
+
+"To the Bastille!" was the cry upon which Dumas built up his story.
+
+"'To the Bastille!'
+
+"Only that it was a senseless idea, as the soldiers had remarked, that the
+Bastille could be taken.
+
+"The Bastille had provisions, a garrison, artillery.
+
+"The Bastille had walls, which were fifteen feet thick at their summit,
+and forty at their base.
+
+"The Bastille had a governor, whose name was De Launay, who had stored
+thirty thousand pounds of gunpowder in his cellars, and who had sworn, in
+case of being surprised by a _coup de main_, to blow up the Bastille, and
+with it half the Faubourg St. Antoine."
+
+Dumas was never more chary of tiresome description than in the opening
+chapters of this book. Chapter XVI. opens as follows:
+
+"We will not describe the Bastille--it would be useless.
+
+"It lives as an eternal image, both in the memory of the old and in the
+imagination of the young.
+
+"We shall content ourselves with merely stating, that, seen from the
+boulevard, it presented, in front of the square then called Place de la
+Bastille, two twin towers, while its two fronts ran parallel with the
+banks of the canal which now exists.
+
+"The entrance to the Bastille was defended, in the first place, by a
+guard-house, then by two lines of sentinels, and besides these by two
+drawbridges.
+
+"After having passed through these several obstacles, you came to the
+courtyard of the government-house--that is to say, the residence of the
+governor.
+
+"From this courtyard a gallery led to the ditches of the Bastille.
+
+"At this other entrance, which opened upon the ditches, was a drawbridge,
+a guard-house, and an iron gate."
+
+Then follow some pages of incident and action, which may be fact or may be
+fiction. The detail which comes after is picturesque and necessary to the
+plot:
+
+"The interior court, in which the governor was waiting for Billot, was the
+courtyard which served as a promenade to the prisoners. It was guarded by
+eight towers--that is to say, by eight giants. No window opened into it.
+Never did the sun shine on its pavement, which was damp and almost muddy.
+It might have been thought the bottom of an immense well.
+
+"In this courtyard was a clock, supported by figures representing
+enchained captives, which measured the hours, from which fell the regular
+and slow sounds of the minutes as they passed by, as in a dungeon the
+droppings from the ceiling eat into the pavement slabs on which they fall.
+
+"At the bottom of this well, the prisoner, lost amid the abyss of stone,
+for a moment contemplated its cold nakedness, and soon asked to be allowed
+to return to his room....
+
+"At the Bastille, all the places were sold to the highest bidder, from
+that of the governor himself, down to that of the scullion. The governor
+of the Bastille was a gaoler on a grand scale, an eating-house keeper
+wearing epaulets, who added to his salary of sixty thousand livres sixty
+thousand more, which he extorted and plundered....
+
+"M. de Launay, in point of avarice, far surpassed his predecessors. This
+might, perhaps, have arisen from his having paid more for the place, and
+having foreseen that he would not remain in it so long as they did.
+
+"He fed his whole house at the expense of his prisoners. He had reduced
+the quantity of firing, and doubled the hire of furniture in each room.
+
+"He had the right of bringing yearly into Paris a hundred pipes of wine,
+free of duty. He sold his right to a tavern-keeper, who brought in wines
+of excellent quality. Then, with a tenth part of this duty, he purchased
+the vinegar with which he supplied his prisoners."
+
+The rest of Dumas' treatment of the fall of the Bastille is of the
+historical kind. He does not blame De Launay for the fall, but by no means
+does he make a hero of him.
+
+"A flash of fire, lost in a cloud of smoke, crowned the summit of a tower;
+a detonation resounded; cries of pain were heard issuing from the closely
+pressed crowd; the first cannon-shot had been fired from the Bastille; the
+first blood had been spilled. The battle had commenced....
+
+"On hearing the detonation we have spoken of, the two soldiers who were
+still watching M. de Launay threw themselves upon him; a third snatched up
+the match, and then extinguished it by placing his heel upon it.
+
+"De Launay drew the sword which was concealed in his cane, and would have
+turned it against his own breast, but the soldiers seized it and snapped
+it in two.
+
+"He then felt that all he could do was to resign himself to the result; he
+therefore tranquilly awaited it.
+
+
+[Illustration: THE FALL OF THE BASTILLE]
+
+
+"The people rush forward; the garrison open their arms to them; and the
+Bastille is taken by assault--by main force, without a capitulation.
+
+"The reason for this was that, for more than a hundred years, the royal
+fortress had not merely imprisoned inert matter within its walls--it had
+imprisoned thought also. Thought had thrown down the walls of the
+Bastille, and the people entered by the breach."
+
+The life-history of the Bastille was more extended than was commonly
+recalled. Still the great incident in its life covered but fifteen short
+days,--from the 30th June to the 14th July, 1789,--when it fell before the
+attack of the Revolutionists. There is rather vague markings in the
+pavement on the Boulevard Henri Quatre and the Rue St. Antoine, which
+suggest the former limits of this gruesome building.
+
+It were not possible to catalogue all the scenes of action celebrated or
+perpetuated by Alexandre Dumas.
+
+In his "Crimes C�l�bres" he--with great definiteness--pictures dark scenes
+which are known to all readers of history; from that terrible affair of
+the Cenci, which took place on the terrace of the Ch�teau de Rocca
+Petrella, in 1598, to the assassination of Kotzebue by Karl Ludwig Sand in
+1819.
+
+Not all of these crimes deal with Paris, nor with France.
+
+The most notable was the poisoning affair of the Marquise de Brinvilliers
+(1676), who was forced to make the "_amende honorable_" after the usual
+manner, on the Parvis du N�tre Dame, that little tree-covered place just
+before the west fa�ade of the cathedral.
+
+The Chevalier Gaudin de Ste. Croix, captain of the Regiment de Tracy, had
+been arrested in the name of the king, by process of the "_lettre de
+cachet_" and forthwith incarcerated in the Bastille, which is once more
+made use of by Dumas, though in this case, as in many others, it is
+historic fact as well. The story, which is more or less one of conjugal
+and filial immorality, as well as political intrigue, shifts its scene
+once and again to the Cul-de-sac des Marchands des Chevaux, in the Place
+Maubert, to the For�t de l'Aigue--within four leagues of Compi�gne, the
+Place du Ch�telet, the Conciergerie, and the Bastille.
+
+Here, too, Dumas' account of the "question by water," or, rather, the
+notes on the subject, which accompanied the first (1839) edition of "Les
+Crimes C�l�bres," form interesting, if rather horrible, reading.
+
+Not alone in the Bastille was this horrible torture practised, but in most
+of the prisons of the time.
+
+"_Pour la 'question ordinaire,' quatre coquemars pleins d'eau, et
+contenant chacun deux pintes et demi, et pour 'la question extraordinaire'
+huit de m�me grandeur._"
+
+This was poured into the victim through a funnel, which entered the mouth,
+and sooner or later drowned or stifled him or her, or induced confession.
+
+The final act and end of the unnatural Marquise de Brinvilliers took place
+at the Place de la Gr�ve, which before and since was the truly celebrated
+place of many noted crimes, though in this case it was justice that was
+meted out.
+
+As a sort of sequel to "The Conspirators," Dumas adds "A Postscriptum,"
+wherein is recounted the arrest of Richelieu, as foreordained by Mlle. de
+Valois. He was incarcerated in the Bastille; but his captivity was but a
+new triumph for the crafty churchman.
+
+"It was reported that the handsome prisoner had obtained permission to
+walk on the terrace of the Bastille. The Rue St. Antoine was filled with
+most elegant carriages, and became, in twenty-four hours, the fashionable
+promenade. The regent--who declared that he had proofs of the treason of
+M. de Richelieu, sufficient to lose him four heads if he had them--would
+not, however, risk his popularity with the fair sex by keeping him long in
+prison. Richelieu, again at liberty, after a captivity of three months,
+was more brilliant and more sought after than ever; but the closet had
+been walled up, and Mlle. de Valois became Duchesse de Modena."
+
+Not only in the "Vicomte de Bragelonne" and "The Taking of the Bastille"
+does Dumas make mention of "The Man in the Iron Mask," but, to still
+greater length, in the supplementary volume, called in the English
+translations "The Man in the Iron Mask," though why it is difficult to
+see, since it is but the second volume of "The Vicomte de Bragelonne."
+
+This historical mystery has provided penmen of all calibres with an
+everlasting motive for argumentative conjecture, but Dumas without
+hesitancy comes out strongly for "a prince of the royal blood," probably
+the brother of Louis XIV.
+
+It has been said that Voltaire invented "the Man in the Iron Mask."
+
+There was nothing singular--for the France of that day--in the man
+himself, his offence, or his punishment; but the mask and the
+mystery--chiefly of Voltaire's creation--fascinated the public, as the
+veil of Mokanna fascinated his worshippers. Here are some of the
+Voltairean myths about this mysterious prisoner: One day he wrote
+something with his knife on a silver plate and threw it down to a
+fisherman, who took it to the governor of the prison. "Have you read it?"
+asked the governor, sternly. "I cannot read," replied the fisherman. "That
+has saved your life," rejoined the governor. Another day a young lad found
+beneath the prison tower a shirt written closely all over. He took it to
+the governor, who asked, anxiously. "Have you read it?" The boy again and
+again assured him that he had not. Nevertheless, two days later the boy
+was found dead in his bed. When the Iron Mask went to mass he was
+forbidden to speak or unmask himself on pain of being then and there shot
+down by the invalids, who stood by with loaded carbines to carry out the
+threat. Here are some of the personages the Iron Mask was supposed to be:
+An illegitimate son of Anne of Austria; a twin brother of Louis XIV., put
+out of the way by Cardinal Richelieu to avoid the risk of a disputed
+succession; the Count of Vermandois, an illegitimate son of Louis XIV.;
+Fouquet, Louis' minister; the Duke of Beaufort, a hero of the Fronde; the
+Duke of Monmouth, the English pretender; Avedick, the Armenian patriarch;
+and of late it has almost come to be accepted that he was Mattioli, a
+Piedmontese political prisoner, who died in 1703.
+
+Dumas, at any rate, took the plausible and acceptable popular solution;
+and it certainly furnished him with a highly fascinating theme for a
+romance, which, however, never apparently achieved any great popularity.
+
+"The clock was striking seven as Aramis passed before the Rue du Petit
+Muse and stopped at the Rue Tourelles, at the gateway of the Bastille....
+
+"Of the governor of the prison Aramis--now Bishop of Vannes--asked, 'How
+many prisoners have you? Sixty?'...
+
+"'For a prince of the blood I have fifty francs a day, ... thirty-six for
+a marechal de France, lieutenant-generals and brigadiers pay twenty-six
+francs, and councillors of parliament fifteen, but for an ordinary judge,
+or an ecclesiastic, I receive only ten francs.'"
+
+Here Dumas' knowledge and love of good eating again crops out. Continuing
+the dialogue between the bishop and the governor, he says:
+
+"'A tolerably sized fowl costs a franc and a half, and a good-sized fish
+four or five francs. Three meals a day are served, and, as the prisoners
+have nothing to do, they are always eating. A prisoner from whom I get
+ten francs costs me seven francs and a half.'
+
+"'Have you no prisoners, then, at less than ten francs?' queried Aramis.
+
+"'Oh, yes,' said the governor, 'citizens and lawyers.'
+
+"'But do they not eat, too?... Do not the prisoners leave some scraps?'
+continued Aramis.
+
+"'Yes, and I delight the heart of some poor little tradesman or clerk by
+sending him a wing of a red partridge, a slice of venison, or a slice of a
+truffled pasty, dishes which he never tasted except in his dreams (these
+are the leavings of the twenty-four-franc prisoners); and he eats and
+drinks, and at dessert cries, "Long live the king!" and blesses the
+Bastille. With a couple of bottles of champagne, which cost me five sous,
+I make him tipsy every Sunday. That class of people call down blessings
+upon me, and are sorry to leave the prison. Do you know that I have
+remarked, and it does me infinite honour, that certain prisoners, who have
+been set at liberty, have almost immediately afterward got imprisoned
+again? Why should this be the case, unless it be to enjoy the pleasures of
+my kitchen? It is really the fact.' Aramis smiled with an expression of
+incredulity."
+
+A visit to the prisoners themselves follows, but the reader of these
+lines is referred to "Le Vicomte de Bragelonne" for further details.
+
+The following few lines must suffice here:
+
+"The number of bolts, gratings, and locks for the courtyard would have
+sufficed for the safety of an entire city. Aramis was neither an
+imaginative nor a sensitive man; he had been somewhat of a poet in his
+youth, but his heart was hard and indifferent, as the heart of every man
+of fifty-five years of age is, who has been frequently and passionately
+attached to women in his lifetime, or rather who has been passionately
+loved by them. But when he placed his foot upon the worn stone steps,
+along which so many unhappy wretches had passed, when he felt himself
+impregnated, as it were, with the atmosphere of those gloomy dungeons,
+moistened with tears, there could be but little doubt he was overcome by
+his feelings, for his head was bowed and his eyes became dim, as he
+followed Baisemeaux, the governor, without uttering a syllable."
+
+Dumas gives a further description, of similar import, in "The Regent's
+Daughter:"
+
+"And now, with the reader's permission, we will enter the Bastille--that
+formidable building at which even the passing traveller trembled, and
+which, to the whole neighbourhood, was an annoyance and cause of alarm;
+for often at night the cries of the unfortunate prisoners who were under
+torture might be heard piercing the thick walls, so much so, that the
+Duchesse de Lesdequieres once wrote to the governor, that, if he did not
+prevent his patients from making such a noise, she should complain to the
+king.
+
+"At this time, however, under the reign of Philippe d'Orleans, there were
+no cries to be heard; the society was select, and too well bred to disturb
+the repose of a lady.
+
+"In a room in the Du Coin tower, on the first floor, was a prisoner
+alone.... He had, however, been but one day in the Bastille, and yet
+already he paced his vast chamber, examining the iron-barred doors,
+looking through the grated windows, listening, sighing, waiting....
+
+"A noise of bolts and creaking hinges drew the prisoner from this sad
+occupation, and he saw the man enter before whom he had been taken the day
+before. This man, about thirty years of age, with an agreeable appearance
+and polite bearing, was the governor, M. De Launay, father of that De
+Launay who died at his post in '89....
+
+"'M. de Chanlay,' said the governor, bowing, 'I come to know if you have
+passed a good night, and are satisfied with the fare of the house and the
+conduct of the employ�s'--thus M. De Launay, in his politeness, called the
+turnkeys and jailors.
+
+"'Yes, monsieur; and these attentions paid to a prisoner have surprised
+me, I own.'
+
+"'The bed is hard and old, but yet it is one of the best; luxury being
+forbidden by our rules. Your room, monsieur, is the best in the Bastille;
+it has been occupied by the Duc d'Angoul�me, by the Marquis de
+Bassompierre, and by the Marshals de Luxembourg and Biron; it is here that
+I lodge the princes when his Majesty does me the honour to send them to
+me.'
+
+"'It is an excellent lodging,' said Gaston, smiling, 'though ill
+furnished; can I have some books, some paper, and pens?'
+
+"'Books, monsieur, are strictly forbidden; but if you very much wish to
+read, as many things are allowed to a prisoner who is _ennuy�_, come and
+see me, then you can put in your pocket one of those volumes which my wife
+or I leave about; you will hide it from all eyes; on a second visit you
+will take the second volume, and to this abstraction we will close our
+eyes.'
+
+"'And paper, pens, ink?' said Gaston. 'I wish most particularly to write.'
+
+"'No one writes here, monsieur; or, at least, only to the king, the
+regent, the minister, or to me; but they draw, and I can let you have
+drawing-paper and pencils.'"
+
+All of the above is the authenticated fact of history, as written records
+prove, but it is much better told by Dumas, the novelist, than by most
+historians.
+
+Still other evidence of the good things set before the guests at the
+"H�tel de la Bastille" is shown by the following. If Dumas drew the facts
+from historical records, all well and good; if they were menus composed by
+himself,--though unconventional ones, as all _bon vivants_ will
+know,--why, still all is well.
+
+"'A fifteen-franc boarder does not suffer, my lord,' said De
+Baisemeaux.--'He suffers imprisonment, at all events.'--'No doubt, but his
+suffering is sweetened for him. You must admit this young fellow was not
+born to eat such things as he now has before him. A pasty; crayfish from
+the river Marne--almost as big as lobsters; and a bottle of Volnay.'"
+
+The potency of the Bastille as a preventative, or, rather, a fit
+punishment for crime, has been nowhere more effectually set forth than by
+the letter which Cagliostro wrote from London (in the "Queen's Necklace").
+
+In this letter, after attacking king, queen, cardinal, and even M. de
+Breteuil, Cagliostro said: "Yes, I repeat, now free after my imprisonment,
+there is no crime that would not be expiated by six months in the
+Bastille. They ask me if I shall ever return to France. Yes, I reply, when
+the Bastille becomes a public promenade. You have all that is necessary to
+happiness, you Frenchmen; a fertile soil and genial climate, good hearts,
+gay tempers, genius, and grace. You only want, my friends, one little
+thing--to feel sure of sleeping quietly in your beds when you are
+innocent."
+
+To-day "The Bastille," as it is commonly known and referred to, meaning
+the Place de la Bastille, has become a public promenade, and its bygone
+terrors are but a memory.
+
+
+
+
+CHAPTER XVI.
+
+THE ROYAL PARKS AND PALACES
+
+
+Since the romances of Dumas deal so largely with Paris, it is but natural
+that much of their action should take place at the near-by country
+residences of the royalty and nobility who form the casts of these great
+series of historical tales.
+
+To-day Fontainebleau, St. Germain, Versailles, and even Chantilly,
+Compi�gne, and Rambouillet are but mere attractions for the tourist of the
+butterfly order. The real Parisian never visits them or their precincts,
+save as he rushes through their tree-lined avenues in an automobile; and
+thus they have all come to be regarded merely as monuments of splendid
+scenes, which have been played, and on which the curtain has been rung
+down.
+
+This is by no means the real case, and one has only to read Dumas, and do
+the round of the parks and ch�teaux which environ Paris, to revivify many
+of the scenes of which he writes.
+
+Versailles is the most popular, Fontainebleau the most grand, St. Germain
+the most theatrical, Rambouillet the most rural-like, and Compi�gne and
+Chantilly the most delicate and dainty.
+
+Still nearer to Paris, and more under the influence of town life, were the
+ch�teaux of Madrid in the Bois de Boulogne, and of Vincennes, at the other
+extremity of the city.
+
+All these are quite in a class by themselves; though, of course, in a way,
+they performed the same functions when royalty was in residence, as the
+urban palaces.
+
+Dumas' final appreciation of the charms of Fontainebleau does not come
+till one reaches the last pages of "Le Vicomte de Bragelonne." True, it
+was not until the period of which this romance deals with Fontainebleau,
+its ch�teau, its _for�t_, and its f�tes, actually came to that prominence
+which to this day has never left them.
+
+When the king required to give his f�te at Fontainebleau, as we learn from
+Dumas, and history, too, he required of Fouquet four millions of francs,
+"in order to keep an open house for fifteen days," said he. How he got
+them, and with what result, is best read in the pages of the romance.
+
+"Life at the Palais Royal having become somewhat tame, the king had
+directed that Fontainebleau should be prepared for the reception of the
+court." Here, then, took place the f�tes which were predicted, and Dumas,
+with his usual directness and brilliance, has given us a marvellous
+description of the gaiety of court life, surrounded by the noble forest,
+over which artists and sentimentalists have ever rhapsodized.
+
+Continuing, from the pages of Dumas which immediately follow, one reads:
+
+"For four days, every kind of enchantment brought together in the
+magnificent gardens of Fontainebleau, had converted this spot into a place
+of the most perfect enjoyment. M. Colbert seemed gifted with ubiquity. In
+the morning, there were the accounts of the previous night's expenses to
+settle; during the day, programmes, essays, enlistments, payments. M.
+Colbert had amassed four millions of francs, and dispersed them with a
+prudent economy. He was horrified at the expenses which mythology
+involved; every wood-nymph, every dryad, did not cost less than a hundred
+francs a day. The dresses alone amounted to three hundred francs. The
+expense of powder and sulphur for fireworks amounted, every night, to a
+hundred thousand francs. In addition to these, the illuminations on the
+borders of the sheet of water cost thirty thousand francs every evening.
+The f�tes had been magnificent; and Colbert could not restrain his
+delight. From time to time he noticed Madame and the king setting forth on
+hunting expeditions, or preparing for the reception of different fantastic
+personages, solemn ceremonials, which had been extemporized a fortnight
+before, and in which Madame's sparkling wit and the king's magnificence
+were equally displayed."
+
+The "Inn of the Beautiful Peacock," celebrated by Dumas in "Le Vicomte de
+Bragelonne," is not directly traceable to-day in the many neighbouring
+hostelries of Fontainebleau. Just what Dumas had in mind is vague, though
+his description might apply to any house for travellers, wherever it may
+have been situated in this beautiful wildwood.
+
+It was to this inn of the "Beau Paon" that Aramis repaired, after he had
+left Fouquet and had donned the costume of the cavalier once more.
+"Where," said Dumas, "he (Aramis) had, by letters previously sent,
+directed an apartment or a room to be retained for him. He chose the room,
+which was on the first floor, whereas the apartment was on the second."
+
+The description of the establishment given by Dumas is as follows:
+
+"In the first place, let us supply our readers with a few details about
+the inn called the Beau Paon. It owed its name to its sign, which
+represented a peacock spreading out its tail. But, in imitation of some
+painters who had bestowed the face of a handsome young man upon the
+serpent which tempted Eve, the painter of this sign had conferred upon the
+peacock the features of a woman. This inn, a living epigram against that
+half of the human race which renders existence delightful, was situated at
+Fontainebleau, in the first turning on the left-hand side, which divides
+on the road from Paris, that large artery which constitutes in itself
+along the entire town of Fontainebleau. The side street in question was
+then known as the Rue de Lyon, doubtless because geographically it
+advanced in the direction of the second capital of the kingdom."
+
+Lyons itself is treated by Dumas at some length in "Chicot the Jester,"
+particularly with reference to Chicot's interception of the Pope's
+messenger, who brought the documents which were to establish the Duc de
+Guise's priority as to rights to the throne of France.
+
+"The inn of the Beau Paon had its principal front toward the main street;
+but upon the Rue de Lyon there were two ranges of buildings, divided by
+courtyards, which comprised sets of apartments for the reception of all
+classes of travellers, whether on foot or on horseback, or even with
+their own carriages, and in which could be supplied, not only board and
+lodging, but also accommodation for exercise or opportunities of solitude
+for even the wealthiest courtiers, whenever, after having received some
+check at the court, they wished to shut themselves up with their own
+society, either to devour an affront or to brood over their revenge. From
+the windows of this part of the building the travellers could perceive, in
+the first place, the street with the grass growing between the stones,
+which were being gradually loosened by it; next, the beautiful hedges of
+elder and thorn, which embraced, as though within two green and flowering
+arms, the houses of which we have spoken; and then, in the spaces between
+those houses, forming the groundwork of the picture, and appearing like an
+almost impassable barrier, a line of thick trees, the advanced sentinels
+of the vast forest, which extends itself in front of Fontainebleau."
+
+On the road to Versailles, where the Seine is crossed by the not beautiful
+Pont de S�vres, is the little inn of the Bridge of S�vres, in which the
+story of "La Comtesse de Charny" opens, and, indeed, in which all its
+early action takes place. The inn, or even its direct descendant, is not
+discernible to-day. The Pont de S�vres is there, linking one of those
+thumblike peninsulas made by the windings of the Seine with the Bois de
+Meudon, and the traffic inward and outward from Paris is as great and
+varied as it always was, probably greater, but there is no inn to suggest
+that which Dumas had in mind. The rural aspect is somewhat changed, the
+towering stacks of the china-factory chimneys, the still more
+towering--though distant--Tour Eiffel, which fortunately is soon to be
+razed, and the iron rails of the "Ceinture" and the "Quest," all tend to
+estrange one's sentiments from true romance.
+
+
+[Illustration: INN OF THE PONT DE S�VRES]
+
+
+Farther on to the westward lies Versailles, with its theatrical, though
+splendid, _palais_ and _parc_, the Trianons and Les Grandes Eaux, beloved
+by the tourist and the Parisian alike.
+
+Still farther to the northward by the same road is the pretty town of St.
+Germain-en-Laye, with the remains of its Ch�teau Neuf, once the most
+splendid and gorgeous country residence of Henri II. and Henri IV.,
+continuing, also, in the favour of the court until the birth here of Louis
+XIV. James II. of England made his residence here after his exile.
+
+Dumas' references to St. Germain are largely found in "Vingt Ans Apr�s."
+
+It was near St. Germain, too, that Dumas set about erecting his famous
+"Ch�telet du Monte Cristo." In fact, he did erect it, on his usual
+extravagant ideas, but his tenure there was short-lived, and, altogether,
+it was not a creditable undertaking, as after-events proved.
+
+The gaiety of the life at St. Germain departed suddenly, but it is said of
+Dumas' life there, that he surrounded himself with a coterie which bespoke
+somewhat its former abandon and luxuriance. It was somewhat of a Bohemian
+life that he lived there, no doubt, but it was not of the sordid or humble
+kind; it was most gorgeous and extravagant.
+
+Of all the royal parks and palaces in the neighbourhood of Paris,
+Versailles has the most popularly sentimental interest. A whim of Louis
+XIV., it was called by Voltaire "an abyss of expense," and so it truly
+was, as all familiar with its history know.
+
+In the later volumes of Dumas' "La Comtesse de Charnay," "The Queen's
+Necklace," and "The Taking of the Bastille," frequent mention is made but
+he does not write of it with the same affection that he does of
+Fontainebleau or St. Germain. The details which Dumas presents in "The
+Taking of the Bastille" shows this full well.
+
+"At half-past ten, in ordinary times, every one in Versailles would have
+been in bed and wrapped in the profoundest slumber; but that night no eye
+was closed at Versailles. They had felt the counter-shock of the terrible
+concussion with which Paris was still trembling.
+
+"The French Guards, the body-guards, the Swiss drawn up in platoons, and
+grouped near the openings of all the principal streets, were conversing
+among themselves, or with those of the citizens whose fidelity to the
+monarchy inspired them with confidence.
+
+"For Versailles has, at all times, been a royalist city. Religious respect
+for the monarchy, if not for the monarch, is engrafted in the hearts of
+its inhabitants, as if it were a quality of its soil. Having always lived
+near kings, and fostered by their bounty, beneath the shade of their
+wonders--having always inhaled the intoxicating perfume of the
+_fleurs-de-lis_, and seen the brilliant gold of their garments, and the
+smiles upon their august lips, the inhabitants of Versailles, for whom
+kings have built a city of marble and porphyry, feel almost kings
+themselves; and even at the present day, even now, when moss is growing
+around the marble, and grass is springing up between the slabs of the
+pavement, now that gold has almost disappeared from the wainscoting, and
+that the shady walks of the parks are more solitary than a graveyard,
+Versailles must either belie its origin, or must consider itself as a
+fragment of the fallen monarchy, and no longer feeling the pride of power
+and wealth, must at least retain the poetical associations of regret, and
+the sovereign charms of melancholy. Thus, as we have already stated, all
+Versailles, in the night between the 14th and 15th July, 1789, was
+confusedly agitated, anxious to ascertain how the King of France would
+reply to the insult offered to the throne, and the deadly wound inflicted
+on his power."
+
+Versailles was one of the latest of the royal palaces, and since its
+birth, or at least since the days of "personally" and "non-conducted"
+tourists, has claimed, perhaps, even more than its share of popular
+favour. Certainly it is a rare attraction, and its past has been in turn
+sad, gay, brilliant, and gloomy. Event after event, some significant,
+others unimportant, but none mean or sordid, have taken place within its
+walls or amid its environment. Dumas evidently did not rank its beauties
+very high,--and perhaps rightly,--for while it is a gorgeous fabric and
+its surroundings and appointments are likewise gorgeous, it palls
+unmistakably by reason of its sheer artificiality. Dumas said much the
+same thing when he described it as "that world of automata, of statues,
+and boxwood forests, called Versailles."
+
+Much of the action of "The Queen's Necklace" takes place at Versailles,
+and every line relating thereto is redolent of a first-hand observation on
+the part of the author. There is no scamping detail here, nor is there any
+excess of it.
+
+With the fourth chapter of the romance, when Madame de la Motte drove to
+Versailles in her cabriolet, "built lightly, open, and fashionable, with
+high wheels, and a place behind for a servant to stand," begins the record
+of the various incidents of the story, which either took place at
+Versailles or centred around it.
+
+"'Where are we to go?' said Weber, who had charge of madame's
+cabriolet.--'To Versailles.'--'By the boulevards?'--'No.'... 'We are at
+Versailles,' said the driver. 'Where must I stop, ladies?'--'At the Place
+d'Armes.'" "At this moment," says Dumas, in the romance, "our heroines
+heard the clock strike from the church of St. Louis."
+
+Dumas' descriptions of Versailles are singularly complete, and without
+verboseness. At least, he suggests more of the splendours of that gay
+residence of the court than he actually defines, and puts into the mouths
+of his characters much that others would waste on mere descriptive matter.
+
+In the chapter headed Vincennes, in "Marguerite de Valois," Dumas gives a
+most graphic description of its one-time ch�teau-prison:
+
+"According to the order given by Charles IX., Henri was the same evening
+conducted to Vincennes, that famous castle of which only a fragment now
+remains, but colossal enough to give an idea of its past grandeur.
+
+"At the postern of the prison they stopped. M. de Nancey alighted from his
+horse, opened the gate closed with a padlock, and respectfully invited the
+king to follow him. Henri obeyed without a word of reply. Every abode
+seemed to him more safe than the Louvre, and ten doors, closing on him at
+the same time, were between him and Catherine de Medici.
+
+"The royal prisoner crossed the drawbridge between two soldiers, passed
+the three doors on the ground floor and the three doors at the foot of the
+staircase, and then, still preceded by M. de Nancey, went up one flight of
+stairs. Arrived there, Captain de Nancey requested the king to follow him
+through a kind of corridor, at the extremity of which was a very large and
+gloomy chamber.
+
+"Henri looked around him with considerable disquietude.
+
+"'Where are we?' he inquired.
+
+"'In the chamber of torture, monseigneur.'
+
+"'Ah, ah!' replied the king, looking at it attentively.
+
+"There was something of everything in this apartment: pitchers and
+trestles for the torture by water; wedges and mallets for the question of
+the boot; moreover, there were stone benches for the unhappy wretches who
+awaited the question, nearly all around the chamber; and above these
+seats, and to the seats themselves, and at the foot of these seats, were
+iron rings, mortised into the walls with no symmetry but that of the
+torturing art.
+
+"'Ah, ah!' said Henri, 'is this the way to my apartment?'
+
+"'Yes, monseigneur, and here it is,' said a figure in the dark, who
+approached and then became distinguishable.
+
+"Henri thought he recognized the voice, and, advancing toward the
+individual, said, 'Ah, is it you, Beaulieu? And what the devil do you do
+here?'
+
+"'Sire, I have been nominated governor of the fortress of Vincennes.'
+
+"'Well, my dear sir, your d�but does you honour; a king for a prisoner is
+no bad commencement.'
+
+"'Pardon me, Sire, but before I received you I had already received two
+gentlemen.'
+
+"'Who may they be? Ah! your pardon; perhaps I commit an indiscretion.'
+
+"'Monseigneur, I have not been bound to secrecy. They are M. de la Mole
+and M. de Coconnas.'
+
+"'Poor gentlemen! And where are they?'
+
+"'High up, in the fourth floor.'
+
+"Henri gave a sigh. It was there he wished to be.
+
+"'Now, then, M. de Beaulieu,' said Henri, 'have the kindness to show me my
+chamber. I am desirous of reaching it, as I am very much fatigued with my
+day's toil.'
+
+"'Here, monseigneur,' said Beaulieu, showing Henri an open door.
+
+"'No. 2!' said Henri. 'And why not No. 1?'
+
+"'Because it is reserved, monseigneur.'
+
+"'Ah! that is another thing,' said Henri, and he became even more pensive.
+
+"He wondered who was to occupy No. 1.
+
+"The governor, with a thousand apologies, installed Henri in his
+apartment, made many excuses for his deficiencies, and, placing two
+soldiers at the door, retired.
+
+"'Now,' said the governor, addressing the turnkey, 'let us visit the
+others.'"
+
+       *       *       *       *       *
+
+The present aspect of St. Germain-en-Laye is hardly what it was in the
+days of which Dumas wrote in "Marguerite de Valois" or in "Vingt Ans
+Apr�s." Le Bois or Le For�t looks to-day in parts, at least--much as it
+did in the days when royalty hunted its domain, and the glorious fa�ade
+ch�teau has endured well.
+
+Beyond this, the romance and history have well-nigh evaporated into air.
+The whole neighbourhood is quite given over to a holiday, pleasure-making
+crowd, which, though it is typically French, and therefore interesting, is
+little in keeping with the splendid scenes of its past.
+
+To-day peasants from Brittany, heavily booted cavalry and artillery,
+_ouvriers_, children and nursemaids, and _touristes_ of all nationalities
+throng the _all�es_ of the forest and the corridors of the ch�teau, where
+once royalty and its retainers held forth.
+
+Vesinet, on the road from Paris to St. Germain,--just before one reaches
+Pecq, and the twentieth-century _chemin-de-fer_ begins to climb that long,
+inclined viaduct, which crosses the Seine and rises ultimately to the
+platform on which sits the Vieux Ch�teau,--was a favourite hawking-ground
+of Charles IX. Indeed, it was here that that monarch was warned of "a
+fresh calumny against his poor Harry" (Henri de Navarre), as one reads in
+the pages of "Marguerite de Valois."
+
+A further description follows of Charles' celebrated falcon, Bec de Fer,
+which is assuredly one of the most extraordinary descriptions of a
+hunting-scene extant in the written page of romance.
+
+Much hunting took place in all of Dumas' romances, and the near-by forests
+of France, _i. e._, near either to Paris or to the royal residences
+elsewhere, were the scenes of many gay meetings, where the stag, the boar,
+the _cerf_, and all manner of footed beasts and winged fowl were hunted in
+pure sport; though, after all, it is not recorded that it was as brutal a
+variety as the _battues_ of the present day.
+
+St. Germain, its ch�teau and its _for�t_, enters once and again, and
+again, into both the Valois series and the Mousquetaire romances. Of all
+the royal, suburban palaces, none have been more admired and loved for its
+splendid appointments and the splendid functions which have taken place
+there, than St. Germain.
+
+It had early come into favour as the residence of the French kings, the
+existing chapel being the foundation of St. Louis, while the Ch�teau Neuf
+was built mainly by Henri II. To-day but a solitary _pavillon_--that known
+as Henri IV.--remains, while the Vieux Ch�teau, as it was formerly known,
+is to-day acknowledged as _the_ Ch�teau.
+
+The most significant incident laid here by Dumas, is that of the flight of
+Anne of Austria, Louis XIV., and the court, from Paris to the Ch�teau of
+St. Germain. This plan was amplified, according to Dumas, and furthered
+by D'Artagnan and Athos; and since it is an acknowledged fact of history,
+this points once again to the worth of the historical romance from an
+exceedingly edifying view-point. At the time of the flight Louis was but a
+mere boy, and it may be recalled here that he was born at St. Germain in
+1638.
+
+The architectural glories of St. Germain are hardly so great as to warrant
+comparison with Versailles, to which Louis subsequently removed his court;
+indeed, the Ch�teau Neuf, with the exception of the _pavillon_ before
+mentioned, is not even a dignified ruin, being but scattered piles of
+d�bris, which, since 1776, when the structure was razed, have been left
+lying about in most desultory fashion.
+
+The Vieux Ch�teau was made use of by the great Napoleon as a sort of a
+barracks, and again as a prison, but has since been restored according to
+the original plans of the architect Ducercen, who, under Fran�ois I., was
+to have carried it to completion.
+
+Once St. Germain was the home of royalty and all the gaiety of the court
+life of the Louis, and once again it was on the eve of becoming the
+fashionable Paris suburb, but now it is the resort of "trippers," and its
+ch�teau, or what was left of it after the vandalism of the eighteenth
+century, is a sad ruin, though the view from its heights is as lovely as
+ever--that portion which remains being but an aggravation, when one
+recalls the glories that once were. Save the Vieux Ch�teau, all that is
+left is the lovely view. Paris-wards one sees a panorama--a veritable
+_vol-d'oiseaux_--of the slender, silvery loops of the Seine as it bends
+around Port Marly, Argenteuil, Courbevoie, St. Denis, and St. Cloud; while
+in the dimmest of the dim distance the Eiffel Tower looms all its ugliness
+up into the sky, and the domed heights of Montmartre and the Buttes
+Chaumont look really beautiful--which they do not on closer view.
+
+The height of St. Germain itself--the _ville_ and the ch�teau--is not so
+very great, and it certainly is not giddy, which most of its frequenters,
+for one reason or another, are; but its miserable _pav�_ is the curse of
+all automobilists, and the sinuous road which ascends from the Pont du
+Pecq is now "rushed," up and down, by motor-cars, to the joy of the
+native, when one gets stalled, as they frequently do, and to the danger to
+life and limb of all other road-users and passers-by.
+
+       *       *       *       *       *
+
+In all of the Valois cycle, "_la chasse_" plays an important part in the
+pleasure of the court and the noblesse. The forests in the
+neighbourhood of Paris are numerous and noted.
+
+
+[Illustration: FOR�T DE VILLERS-COTTERETS]
+
+[Illustration: BOIS DE VINCENNES]
+
+[Illustration: BOIS DE BOULOGNE]
+
+
+At Villers-Cotterets, Dumas' birthplace, is the For�t de
+Villers-Cotterets, a dependence of the Valois establishment at Cr�py.
+
+Bondy, Fontainebleau, St. Germain, Vincennes, and Rambouillet are all
+mentioned, and are too familiar to even casual travellers to warrant the
+inclusion of detailed description here.
+
+Next to Fontainebleau, whose present-day fame rests with the artists of
+the Barbizon school, who have perpetuated its rocks and trees, and St.
+Germain, which is mostly revered for the past splendour of its ch�teau,
+Rambouillet most frequently comes to mind.
+
+Even Republican France has its national hunt yearly, at Rambouillet, and
+visiting monarchs are invariably expected to partake in the shooting.
+
+Rambouillet, the _hameau_ and the _for�t_, was anciently under the feudal
+authority of the Comtes de Montford, afterward (1300) under Regnault
+d'Augennes, Capitaine du Louvre under Charles VI., and still later under
+Jacques d'Augennes, Capitaine du Ch�teau de Rambouillet in 1547. Louis
+XVI. purchased the ch�teau for one of his residences, and Napoleon III.,
+as well as his more illustrious namesake, was specially fond of hunting in
+its forests.
+
+Since 1870 the ch�teau and the forest have been under the domination of
+the state.
+
+There is a chapter in Dumas' "The Regent's Daughter," entitled "A Room in
+the Hotel at Rambouillet," which gives some little detail respecting the
+town and the forest.
+
+There is no hotel in Rambouillet to-day known as the "Royal Tiger," though
+there is a "Golden Lion."
+
+"Ten minutes later the carriage stopped at the Tigre-Royal. A woman, who
+was waiting, came out hastily, and respectfully assisted the ladies to
+alight, and then guided them through the passages of the hotel, preceded
+by a valet carrying lights.
+
+"A door opened, Madame Desroches drew back to allow H�l�ne and Sister
+Th�r�se to pass and they soon found themselves on a soft and easy sofa, in
+front of a bright fire.
+
+"The room was large and well furnished, but the taste was severe, for the
+style called rococo was not yet introduced. There were four doors; the
+first was that by which they had entered--the second led to the
+dining-room, which was already lighted and warmed--the third led into a
+richly appointed bedroom--the fourth did not open....
+
+"While the things which we have related were passing in the parlour of the
+H�tel Tigre-Royal, in another apartment of the same hotel, seated near a
+large fire, was a man shaking the snow from his boots, and untying the
+strings of a large portfolio. This man was dressed in the hunting livery
+of the house of Orleans; the coat red and silver, large boots, and a
+three-cornered hat, trimmed with silver. He had a quick eye, a long,
+pointed nose, a round and open forehead, which was contradicted by thin
+and compressed lips."
+
+       *       *       *       *       *
+
+Compi�gne, like Cr�py-en-Valois, Dammartin, Villers-Cotterets, and other
+of the towns and villages of the district, which in the fourteenth century
+belonged to the younger branch of the royal house, enter largely into the
+romances of Dumas, as was but natural, seeing that this region was the
+land of his birth.
+
+The most elaborate and purely descriptive parts are found in "The Wolf
+Leader," wherein are presented so many pictures of the forest life of the
+region, and in "The Taking of the Bastille," in that part which describes
+the journey of Ange Pitou to Paris.
+
+Cr�py, Compi�gne, Senlis, Pierrefonds, are still more celebrated in Dumas'
+writings for glorious and splendid achievements--as they are with respect
+to the actual fact of history, and the imposing architectural monuments
+which still remain to illustrate the conditions under which life endured
+in medi�val times.
+
+At Cr�py, now a sleepy old-world village, is still seen the establishment
+of the Valois of which Dumas wrote; and another _grande maison_ of the
+Valois was at Villers-Cotterets--a still more somnolent reminder of the
+past. At Compi�gne, only, with its magnificent H�tel de Ville, does one
+find the activities of a modern-day life and energy.
+
+Here in strange juxtaposition with a remarkably interesting and
+picturesque church, and the dainty Renaissance H�tel de Ville, with its
+_jacquemart_, its belfry, its pointed gable, and its ornate fa�ade, is
+found a blend of past and present, which combines to produce one of those
+transformations or stage-settings which throughout France are so often met
+with and admired.
+
+No more charming _petite ville_ exists in all France than Compi�gne, one
+of the most favoured of all the country residences of the Kings of France.
+
+The ch�teau seen to-day was an erection of Louis XV.
+
+Le For�t de Compi�gne is as beautiful and unspoiled as any, and is,
+moreover, not overrun with tourists and trippers, as is Fontainebleau.
+
+
+[Illustration: CH�TEAU OF THE DUCS DE VALOIS, CR�PY]
+
+
+Its area approximates 60,000 acres, and its circumference sixty miles.
+
+In short, the whole domain forms a charming and delightful place of
+retreat, which must have been duly appreciated during the troublous times
+of Louis' reign.
+
+It was here, in the For�t de Compi�gne, that the great hunting was held,
+which is treated in "Chicot the Jester."
+
+The Bois de Vincennes was a famous duelling-ground--and is to-day, _sub
+rosa_. It was here that Louis de Franchi, in the "Corsican Brothers," who
+forewarned of his fate, died in the duel with Ren� de Chateaurien, just as
+he had predicted; at exactly "_neuf heures dix_."
+
+This park is by no means the rival of the Bois de Boulogne in the
+affections of the Parisian public, but it is a wide expanse of
+tree-covered park land, and possesses all the characteristics of the other
+suburban _for�ts_ which surround Paris on all sides.
+
+It has, moreover, a ch�teau, a former retreat or country residence of the
+Kings of France, though to-day it has been made over to the ministry of
+war, whereas the Ch�teau de Madrid, the former possession of the Bois de
+Boulogne, has disappeared. The Ch�teau de Vincennes is not one of the
+sights of Paris. For a fact, it is quite inaccessible, being surrounded
+by the ramparts of the Fort de Vincennes, and therefore forbidden to the
+inquisitive.
+
+It was here in the Ch�teau de Vincennes that Charles IX. died a lingering
+death, "by the poison prepared for another," as Dumas has it in
+"Marguerite de Valois."
+
+Among the many illustrious prisoners of the Ch�teau de Vincennes have been
+the King of Navarre (1574), Cond� (1650), Cardinal de Retz (1652), Fouquet
+(1661), Mirabeau (1777), the Duc d'Enghien (1804), and many others, most
+of whom have lived and breathed in Dumas' pages, in the same parts which
+they played in real life.
+
+
+
+
+CHAPTER XVII.
+
+THE FRENCH PROVINCES
+
+
+Dumas' acquaintance with the French provinces was very comprehensive,
+though it is of the region northeast of Paris that he was most fond; of
+the beloved forest region around Cr�py and Villers-Cotterets; the road to
+Calais, and Picardie and Flanders. Dumas was ever fond of, and familiar
+with, the road from Paris to Calais. The National Route ran through Cr�py,
+and the byroad through his native Villers-Cotterets. In the "Vicomte de
+Bragelonne," he calls the region "The Land of God," a sentiment which
+mostly has not been endorsed by other writers; still, it is a beautiful
+country, and with its thickly wooded plantations, its industrious though
+conglomerate population, it is to-day--save for the Cantal and the
+Auvergne--that part of France of which English-speaking folk know the
+least. And this, too, on the direct road between London and Paris!
+
+Dumas, in the above-mentioned book, describes the journey through this
+region which was made by Buckingham and De Wardes.
+
+"Arriving at Calais, at the end of the sixth day, they chartered a boat
+for the purpose of joining the yacht that was to convey them to England,
+and which was then tacking about in full view."
+
+The old port of Calais must have been made use of by the personages of
+whom Dumas wrote, who trafficked forth between England and France.
+
+Calais has ever been the most important terminus of cross-channel traffic,
+and there be those who know, who say that the boat service is not improved
+in comfort in all these ages, and certainly Calais, which most English
+travellers know only by fleeting glimpses, might with profit be visited
+more frequently, if only to follow in the wake of Sterne's sentimental
+footsteps.
+
+The old port, of course, exists no more; new dykes, breakwaters, and the
+_gare maritime_ have taken the place of the ancient landing-places, where
+royalties and others used to embark in frail sailing-vessels for the
+English ports across the channel.
+
+The old belfry still exists, and forms a beacon by day, at least, much as
+it did of yore. By night the new electric-light flashes its beams twenty
+odd miles across the channel on Dover Cliff, in a way which would have
+astonished our forefathers in the days gone by.
+
+It was at Calais, too, that was enacted the final scene in the life of
+Mary Stuart in France.
+
+The misfortunes of Mary Stuart formed the subject of one of the series of
+"Les Crimes C�l�bres." In the opening words of this chapter, Dumas has
+said, "Of all the names predestined to misfortune in France, it is the
+name of Henri. Henri I. was poisoned, Henri II. was killed (maliciously,
+so some one has said) in a tournament, Henri III. and Henri IV. were
+assassinated." In Scotland it is the name of Stuart.
+
+The chronicle concerns France only with respect to the farewell of Mary,
+after having lost her mother and her spouse in the same year (1561). She
+journeyed to Scotland by Calais, accompanied by the Cardinals de Guise and
+de Lorraine, her uncles, by the Duc and Duchesse de Guise, the Duc
+d'Aumale, and M. de Nemours.
+
+Here took place that heartrending farewell, which poets and painters, as
+well as historians and novelists, have done so much to perpetuate. "Adieu,
+France!" she sobbed. "Adieu, France!" And for five hours she continued to
+weep and sob, "Adieu, France! Adieu, France!" For the rest, the well-known
+historical figures are made use of by Dumas,--Darnley, Rizzio, Huntley,
+and Hamilton,--but the action does not, of course, return to France.
+
+Not far south of Calais is Arras, whence came the Robespierre who was to
+set France aflame.
+
+"The ancestors of the Robespierres," says Dumas, "formed a part of those
+Irish colonists who came to France to inhabit our seminaries and
+monasteries. There they received from the Jesuits the good educations they
+were accustomed to give to their pupils. From father to son they were
+notaries; one branch of the family, that from which this great man
+descends, established himself at Arras, a great centre, as you know, of
+noblesse and the church.
+
+"There were in this town two _seigneurs_, or, rather, two kings; one was
+the Abb� of St. Waast, the other was the Bishop of Arras, whose palace
+threw one-half the town into shade."
+
+The former palace of the Bishop of Arras is to-day the local _mus�e_. It
+is an extensive establishment, and it flanks an atrocious Renaissance
+cathedral of no appealing charm whatever, and, indeed, the one-time
+bishop's palace does not look as though it was ever a very splendid
+establishment.
+
+Still farther to the southward of Calais is the feudal Castle of
+Pierrefonds, so beloved of Porthos in "Vingt Ans Apr�s." It is, and has
+ever been since its erection in 1390 by Louis d'Orleans, the brother of
+Charles VI., one of the most highly impregnable and luxurious ch�teaux of
+all France.
+
+
+[Illustration: CASTLE OF PIERREFONDS]
+
+
+Four times it was unsuccessfully besieged, and came finally, in 1617, to
+be dismantled.
+
+The great Napoleon purchased it after the Revolution, and finally, through
+the liberality of Napoleon III.,--one of the few acts which redound to his
+credit,--it was restored, by Viollet-le-Duc, at a cost of over five
+million francs.
+
+In "Pauline," that fragment which Dumas extracted from one of his
+"Impressions du Voyage," the author comes down to modern times, and gives
+us, as he does in his journals of travel, his "M�moires," and others of
+his lighter pieces of fiction, many charming pen-portraits of localities
+familiar not only to his pen, but to his personal experiences.
+
+He draws in "Pauline" a delightful picture of the old fishing-village of
+Trouville--before it became a resort of fashion. In his own words he
+describes it as follows:
+
+"I took the steamer from Havre, and two hours later was at Honfleur; the
+next morning I was at Trouville."
+
+To-day the fly-by-day tourist does the whole journey in a couple of
+hours--if he does not linger over the attractions of "Les Petits Chevaux"
+or "Trente et Quarante," at Honfleur's pretty Casino.
+
+"You know the little town with its population of fisher-folk. It is one of
+the most picturesque in Normandy. I stayed there a few days, exploring the
+neighbourhood, and in the evening I used to sit in the chimney-corner with
+my worthy hostess, Madame Oseraie. There I heard strange tales of
+adventures which had been enacted in Calvados, Loiret, and La Manche."
+
+Continuing, the author, evidently having become imbued with the local
+colour of the vicinity, describes, more or less superficially, perhaps,
+but still with vividness, if not minuteness, those treasure-chests of
+history, the towns and villages of Normandy:--Caen, Lisieux, Falaise, the
+cradle of the Conqueror William, "the fertile plains" around Pont Audemer,
+Havre, and Alen�on.
+
+Normandy, too, was the _locale_ of the early life of Gabriel Lambert, the
+unappealing leading-man of that dramatic story of a counterfeiter's life,
+which bears the same title.
+
+Dumas' first acquaintance with the character in real life,--if he had any
+real personality, as one is inclined to think he had,--was at Toulon,
+where the unfortunate man was imprisoned and made to work in the galleys.
+
+In the course of the narrative the scene shifts from prisons, galleys, and
+chain-gangs, backward and forward, until we get the whole gamut of the
+criminal's life.
+
+Gabriel, in the days of his early life at Trouville, had acquired the art
+of skilled penmanship, and used it wherever he could for his own
+advantage, by fabricating the handwriting of others--and some honest work
+of a similar nature.
+
+Finally the call of Paris came strong upon him, and he set forth by Pont
+l'Ev�que and Rouen to the metropolis, where his downfall was speedily
+consummated, to the sorrow and resentment of his old friends of the little
+Norman fishing-village, and more particularly to Marie Granger, his
+country sweetheart, who longed to follow him to Paris, not suspecting the
+actual turn affairs had taken.
+
+In "The Count of Monte Cristo," Dumas again evinces his fondness for, and
+acquaintance with, the coast of Normandy.
+
+It is a brief reference, to be sure, but it shows that Dumas had some
+considerable liking for the sea, and a more or less minute knowledge of
+the coast of France. This is further evinced by the details into which he
+launches once and again, with reference to the littoral of the
+Mediterranean, Belle Ile, and its surroundings, and the coasts of
+Normandy, Brittany, and the Pas de Calais.
+
+In "The Count of Monte Cristo," Dant�s says to his companion, Bertuccio:
+
+"'I am desirous of having an estate by the seaside in Normandy--for
+instance, between Havre and Boulogne. You see, I give you a wide range. It
+will be absolutely necessary that the place you may select have a small
+harbour, creek, or bay, into which my vessel can enter and remain at
+anchor. She merely draws fifteen feet water. She must be kept in constant
+readiness to sail immediately I think proper to give the signal. Make the
+requisite inquiries for a place of this description, and when you have met
+with an eligible spot, visit it, and if it possess the advantages desired,
+purchase it at once in your own name. The corvette must now, I think, be
+on her way to F�camp, must she not?'"
+
+With Brittany, Dumas is quite as familiar. In "Le Vicomte de Bragelonne,"
+he gives minute, though not wearisome, details of Belle Ile and the Breton
+coast around about. Aramis, it seems, had acquired Belle Ile, and had
+risen to high ecclesiastical rank, making his home thereon.
+
+
+[Illustration: N�TRE DAME DE CHARTRES]
+
+
+Dumas' love and knowledge of gastronomy comes to the fore again here. When
+D'Artagnan undertook his famous journey to Belle Ile, on the coast of
+Brittany, as messenger of Louis XIV., whom he called his sun, after he had
+bought that snuff-coloured _bidet_ which would have disgraced a
+corporal, and after he had shortened his name to Agnan,--to complete his
+disguise,--he put in one night at La Roche-Bernard, "a tolerably important
+city at the mouth of the Vilaine, and prepared to sup at a hotel." And he
+did sup; "off a teal and a _torteau_, and in order to wash down these two
+distinctive Breton dishes, ordered some cider, which, the moment it
+touched his lips, he perceived to be more Breton still."
+
+On the route from Paris to the mouth of the Loire, where D'Artagnan
+departed for Belle Ile, is Chartres. Its Cathedral de N�tre Dame has not
+often appeared in fiction. In history and books of travel, and of artistic
+and arch�ological interest, its past has been vigorously played.
+
+Dumas, in "La Dame de Monsoreau," has revived the miraculous legend which
+tradition has preserved.
+
+It recounts a ceremony which many will consider ludicrous, and yet others
+sacrilegious. Dumas describes it thus:
+
+"The month of April had arrived. The great cathedral of Chartres was hung
+with white, and the king was standing barefooted in the nave. The
+religious ceremonies, which were for the purpose of praying for an heir to
+the throne of France, were just finishing, when Henri, in the midst of
+the general silence, heard what seemed to him a stifled laugh. He turned
+around to see if Chicot were there, for he thought no one else would have
+dared to laugh at such a time. It was not, however, Chicot who had laughed
+at the sight of the two chemises of the Holy Virgin, which were said to
+have such a prolific power, and which were just being drawn from their
+golden box; but it was a cavalier who had just stopped at the door of the
+church, and who was making his way with his muddy boots through the crowd
+of courtiers in their penitents' robes and sacks. Seeing the king turn, he
+stopped for a moment, and Henri, irritated at seeing him arrive thus,
+threw an angry glance at him. The newcomer, however, continued to advance
+until he reached the velvet chair of M. le Duc d'Anjou, by which he knelt
+down."
+
+       *       *       *       *       *
+
+But a step from Chartres, on the Loire,--though Orleans, the "City of the
+Maid," comes between,--is Blois.
+
+In "Le Vicomte de Bragelonne," the last of the D'Artagnan series, the
+action comes down to later times, to that of the young king Louis XIV.
+
+In its opening lines its scene is laid in that wonderfully ornate and
+impressive Ch�teau of Blois, which so many have used as a background for
+all manner of writing.
+
+Dumas, with his usual directness, wasting no words on mere description,
+and only considering it as an accessory to his romance, refers briefly to
+this magnificent building--the combined product of the houses whose arms
+bore the hedgehog and the salamander.
+
+"Toward the middle of the month of May, 1660, when the sun was fast
+absorbing the dew from the _ravenelles_ of the Ch�teau of Blois, a little
+cavalcade entered the city by the bridge, without producing any effect
+upon the passengers of the quai-side, except a movement of the tongue to
+express, in the purest French then spoken in France (Touraine has ever
+spoken the purest tongue, as all know), 'There is Monsieur returning from
+the hunt.'... It should have been a trifling source of pride to the city
+of Blois that Gaston of Orleans had chosen it as his residence, and held
+his court in the ancient ch�teau of its states."
+
+It was in the Castle of the States of Blois that Louis XIV. received that
+unexpected visit from "His Majesty Charles II., King of England, Scotland,
+and Ireland," of which Dumas writes in the second of the D'Artagnan
+series.
+
+"'How strange it is you are here,' said Louis. 'I only knew of your
+embarkation at Brighthelmstone, and your landing in Normandy.'...
+
+"Blois was peaceful that morning of the royal arrival, at which
+announcement it was suddenly filled with all the tumult and the buzzing of
+a swarm of bees. In the lower city, scarce a hundred paces from the
+castle, is a sufficiently handsome street called the Rue Vieille, and an
+old and venerable edifice which, tradition says, was habited by a
+councillor of state, to whom Queen Catherine came, some say to visit and
+others to strangle."
+
+Not alone is Blois reminiscent of "Les Mousquetaires," but the numberless
+references in the series to Langeais, Chambord,--the ch�teaux and their
+domains,--bring to mind more forcibly than by innuendo merely that Dumas
+himself must have had some great fondness for what has come to be the
+touring-ground of France _par excellence_.
+
+From "Le Vicomte de Bragelonne," one quotes these few lines which,
+significantly, suggest much: "Do you not remember, Montalais, the woods of
+Chaverney, and of Chambord, and the numberless poplars of Blois?" This
+describes the country concisely, but explicitly.
+
+Beyond Blois, beyond even Tours, which is Blois' next neighbour, passing
+down the Loire, is Angers.
+
+
+[Illustration: CASTLE OF ANGERS--CH�TEAU OF BLOIS]
+
+
+In "La Dame de Monsoreau," more commonly known in English translations
+as "Chicot the Jester," much of the scene is laid in Anjou.
+
+To Angers, with its wonderful fairylike castle, with its seventeen
+black-banded towers (recalling, also, that this is the "Black Angers" of
+Shakespeare's "King John"), repaired the Duc d'Anjou, the brother of
+Charles IX. and Henri III., who then reigned at Paris.
+
+To this "secret residence" the duc came. Dumas puts it thus:
+
+"'Gentlemen!' cried the duke, 'I have come to throw myself into my good
+city of Angers. At Paris the most terrible dangers have menaced my
+life.'... The people then cried out, 'Long live our seigneur!'"
+
+Bussy, who had made the way clear for the duc, lived, says Dumas, "in a
+tumble-down old house near the ramparts." The ducal palace was actually
+outside the castle walls, but the frowning battlement was relied upon to
+shelter royalty when occasion required, the suite quartering themselves in
+the Gothic ch�teau, which is still to be seen in the d�bris-cluttered
+lumber-yard, to which the interior of the fortress has to-day descended.
+
+In other respects than the shocking care, or, rather, the lack of care,
+which is given to its interior, the Castle of Angers, with its battalion
+of _tours_, now without their turrets, its deep, machicolated walls, and
+its now dry _fosse_, presents in every way an awe-inspiring stronghold.
+
+Beyond Angers, toward the sea, is Nantes, famous for the Edict, and, in
+"The Regent's Daughter" of Dumas, the massacre of the four Breton
+conspirators.
+
+Gaston, the hero of the tale, had ridden posthaste from Paris to save his
+fellows. He was preceded, by two hours, by the order for their execution,
+and the reprieve which he held would be valueless did he arrive too late.
+
+"On reaching the gates of Nantes his horse stumbled, but Gaston did not
+lose his stirrups, pulled him up sharply, and, driving the spurs into his
+sides, he made him recover himself.
+
+"The night was dark, no one appeared upon the ramparts, the very sentinels
+were hidden in the gloom; it seemed like a deserted city.
+
+"But as he passed the gate a sentinel said something which Gaston did not
+even hear.
+
+"He held on his way.
+
+"At the Rue du Ch�teau his horse stumbled and fell, this time to rise no
+more.
+
+"What mattered it to Gaston now?--he had arrived....
+
+"He passed right through the castle, when he perceived the esplanade, a
+scaffold, and a crowd. He tried to cry, but no one heard him; to wave his
+handkerchief, but no one saw him.... Another mounts the scaffold, and,
+uttering a cry, Gaston threw himself down below.... Four men died who
+might have been saved had Gaston but arrived five minutes before, and, by
+a remarkable contretemps, Gaston himself shared the same fate."
+
+In "The Regent's Daughter," Dumas describes the journey to Nantes with
+great preciseness, though with no excess of detail. The third chapter
+opens thus:
+
+"Three nights after that on which we have seen the regent, first at
+Chelles, and then at Meudon, a scene passed in the environs of Nantes
+which cannot be omitted in this history; we will therefore exercise our
+privilege of transporting the reader to that place.
+
+"On the road to Clisson, two or three miles from Nantes,--near the convent
+known as the residence of Abelard,--was a large dark house, surrounded by
+thick, stunted trees; hedges everywhere surrounded the enclosure outside
+the walls, hedges impervious to the sight, and only interrupted by a
+wicket gate.
+
+"This gate led into a garden, at the end of which was a wall, having a
+small, massive, and closed door. From a distance this grave and dismal
+residence appeared like a prison; it was, however, a convent, full of
+young Augustines, subject to a rule lenient as compared with provincial
+customs, but rigid as compared with those of Paris.
+
+"The house was inaccessible on three sides, but the fourth, which did not
+face the road, abutted on a large sheet of water; and ten feet above its
+surface were the windows of the refectory.
+
+"This little lake was carefully guarded, and was surrounded by high wooden
+palisades. A single iron gate opened into it, and at the same time gave a
+passage to the waters of a small rivulet which fed the lake, and the water
+had egress at the opposite end."
+
+From this point on, the action of "The Regent's Daughter" runs riotously
+rapid, until it finally culminates, so far as Nantes is concerned, in the
+quintuple execution before the ch�teau, brought about by the five minutes'
+delay of Gaston with the reprieve.
+
+       *       *       *       *       *
+
+Dumas' knowledge of and love of the Mediterranean was great, and he knew
+its western shores intimately.
+
+In 1830 he resolved to visit all the shores of the Mediterranean in a
+yacht, which he had had specially built for the purpose, called the
+_Emma_.
+
+He arrived in Sicily, however, at the moment of the Garibaldian struggle
+against the King of Italy, with the result that the heroic elements of
+that event so appealed to him, that he forewent the other more tranquil
+pleasure of continuing his voyage, and went over to the mainland.
+
+In "The Count of Monte Cristo" is given one of Dumas' best bits of
+descriptive writing. At any rate, it describes one of the aspects of the
+brilliantly blue Mediterranean, which is only comparable to one's personal
+contemplation of its charms. It is apropos of the voyage to the island of
+Monte Cristo--which lies between Elba and Corsica, and has become fabled
+in the minds of present-day readers solely by Dumas' efforts--that he
+wrote the following:
+
+"It was about six o'clock in the evening; an opal-coloured light, through
+which an autumnal sun shed its golden rays, descended on the blue sea. The
+heat of the day had gradually decreased, and a light breeze arose, seeming
+like the respiration of nature on awakening from the burning siesta of the
+south; a delicious zephyr played along the coasts of the Mediterranean,
+and wafted from shore to shore the sweet perfume of plants, mingled with
+the fresh smell of the sea.
+
+"A light yacht, chaste and elegant in its form, was gliding amidst the
+first dews of night over the immense lake, extending from Gibraltar to the
+Dardanelles, and from Tunis to Venice. The motion resembled that of a swan
+with its wings opened toward the wind, gliding on the water. It advanced,
+at the same time, swiftly and gracefully, leaving behind it a glittering
+track. By degrees the sun disappeared behind the western horizon; but, as
+though to prove the truth of the fanciful ideas in heathen mythology, its
+indiscreet rays reappeared on the summit of each wave, seeming to reveal
+that the god of fire had just enfolded himself in the bosom of Amphitrite,
+who in vain endeavoured to hide her lover beneath her azure mantle."
+
+Of the island of Monte Cristo itself, Dumas' description is equally
+gratifying. In the earlier chapters he gives it thus:
+
+"The isle of Monte Cristo loomed large in the horizon.... They were just
+abreast of Mareciana, and beyond the flat but verdant isle of La Pianosa.
+The peak of Monte Cristo, reddened by the burning sun, was seen against
+the azure sky.... About five o'clock in the evening the island was quite
+distinct, and everything on it was plainly perceptible, owing to that
+clearness of the atmosphere which is peculiar to the light which the rays
+of the sun cast at its setting.
+
+"Edmond gazed most earnestly at the mass of rocks which gave out all the
+variety of twilight colours, from the brightest pink to the deepest blue;
+and from time to time his cheeks flushed, his brow became purple, and a
+mist passed over his eyes.... In spite of his usual command over himself,
+Dant�s could not restrain his impetuosity. He was the first who jumped on
+shore; and had he dared, he would, like Lucius Brutus, have 'kissed his
+mother earth.' It was dark, but at eleven o'clock the moon rose in the
+midst of the ocean, whose every wave she silvered, and then, 'ascending
+high,' played in floods of pale light on the rocky hills of this second
+Pelion.
+
+"The island was familiar to the crew of _La Jeune Am�lie_--it was one of
+her halting-places. As to Dant�s, he had passed it on his voyages to and
+from the Levant, but never touched at it."
+
+It is unquestionable that "The Count of Monte Cristo" is the most popular
+and the best known of all Dumas' works. There is a deal of action, of
+personality and characterization, and, above all, an ever-shifting
+panorama, which extends from the boulevards of Marseilles to the faubourgs
+of Paris, and from the island Ch�teau d'If to the equally melancholy
+_all�es_ of P�re la Chaise, which M. de Villefort, a true Parisian,
+considered alone worthy of receiving the remains of a Parisian family, as
+it was there only that they would be surrounded by worthy associates.
+
+All travellers for the East, _via_ the Mediterranean, know well the
+ancient Phoenician port of Marseilles. One does not need even the words
+of Dumas to recall its picturesqueness and importance--to-day as in ages
+past. Still, the opening lines of "The Count of Monte Cristo" do form a
+word-picture which few have equalled in the pages of romance; and there is
+not a word too much; nothing superfluous or extraneous.
+
+"On the 28th of February, 1815, the watchtower of Notre Dame de la Garde
+signalled the three-master, the _Pharaon_, from Smyrna, Trieste, and
+Naples.
+
+"As usual, a pilot put off immediately, and, rounding the Ch�teau d'If,
+got on board the vessel between Cape Morgion and the isle of Rion.
+
+"Immediately, and according to custom, the platform of Fort Saint-Jean was
+covered with lookers-on; it is always an event at Marseilles for a ship to
+come into port, especially when this ship, like the _Pharaon_, had been
+built, rigged, and laden on the stocks of the old Phoc�e, and belonged to
+an owner of the city.
+
+"The ship drew on: it had safely passed the strait, which some volcanic
+shock has made between the isle of Calasareigne and the isle of Jaros; had
+doubled Pom�gue, and approached the harbour under topsails, jib, and
+foresail, but so slowly and sedately that the idlers, with that instinct
+which misfortune sends before it, asked one another what misfortune could
+have happened on board. However, those experienced in navigation saw
+plainly that, if any accident had occurred, it was not to the vessel
+herself, for she bore down with all the evidence of being skilfully
+handled, the anchor ready to be dropped, the bowsprit-shrouds loose, and,
+beside the pilot, who was steering the _Pharaon_ by the narrow entrance of
+the port Marseilles, was a young man, who, with activity and vigilant eye,
+watched every motion of the ship, and repeated each direction of the
+pilot.
+
+"The vague disquietude which prevailed amongst the spectators had so much
+affected one of the crowd that he did not await the arrival of the vessel
+in harbour, but, jumping into a small skiff, desired to be pulled
+alongside the _Pharaon_, which he reached as she rounded the creek of La
+R�serve."
+
+The process of coming into harbour at Marseilles does not differ greatly
+to-day from the description given by Dumas.
+
+New harbour works have been constructed, and sailing-ships have mostly
+given way to great steamers, but the channel winds and twists as of old
+under the lofty brow, capped by the sailors' church of Notre Dame de la
+Garde, which is to-day a tawdry, bizarre shrine, as compared with the
+motive which inspired the devout to ascend its heights to pray for those
+who go down to the sea in ships.
+
+Marseilles, of all cities of France, more even than Bordeaux or Lyons, is
+possessed of that individuality which stands out strong on the background
+of France--the land and the nation.
+
+In the commercial world its importance gives it a high rank, and its
+_affaires_ are regulated by no clues sent each morning by post or by
+telegraph from the world's other marts of trade. It has, moreover, in the
+Canebi�re, one of the truly great streets of the world. Dumas remarked it,
+and so, too, have many others, who know its gay cosmopolitan aspect at all
+the hours of day and night.
+
+From "The Count of Monte Cristo," the following lines describe it justly
+and truly, and in a way that fits it admirably, in spite of the fact that
+Dumas wrote of it as it was a hundred years ago:
+
+"The young sailor jumped into the skiff, and sat down in the stern,
+desiring to be put ashore at the Canebi�re. The two rowers bent to their
+work, and the little boat glided away as rapidly as possible in the midst
+of the thousand vessels which choke up the narrow way which leads between
+the two rows of ships from the mouth of the harbour to the Quai d'Orl�ans.
+
+"The ship-owner, smiling, followed him with his eyes until he saw him
+spring out on the quai and disappear in the midst of the throng, which,
+from five o'clock in the morning until nine o'clock at night, choke up
+this famous street of La Canebi�re, of which the modern Phoc�ens are so
+proud, and say, with all the gravity in the world, and with that accent
+which gives so much character to what is said, 'If Paris had La Canebi�re,
+Paris would be a second Marseilles.'"
+
+The Ch�teau d'If, far more than the island of Monte Cristo itself, is the
+_locale_ which is mostly recalled with regard to the romance of "Monte
+Cristo."
+
+Dumas has, of course, made melodramatic use of it; in fact, it seems
+almost as if he had built the romance around its own restricted _pied �
+terre_, but, nevertheless, it is the one element which we are pleased to
+call up as representative of the story when mention is made thereof.
+
+Not a line, not a word, is misplaced in the chapters in which Dumas treats
+of Dant�s' incarceration in his island prison. Description does not crowd
+upon action or characterization, nor the reverse.
+
+"Through the grating of the window of the carriage, Dant�s saw they were
+passing through the Rue Caisserie, and by the Quai St. Laurent and the Rue
+Taramis, to the port. They advanced toward a boat which a custom-house
+officer held by a chain near the quai. A shove sent the boat adrift, and
+the oarsman plied it rapidly toward the Pilon. At a shout the chain that
+closes the port was lowered, and in a second they were outside the
+harbour.... They had passed the T�te de More, and were now in front of the
+lighthouse and about to double the battery.... They had left the isle
+Ratonneau, where the lighthouse stood, on the right, and were now opposite
+the Point des Catalans.
+
+"'Tell me where you are conducting me?' asked Dant�s of his guard.
+
+"'You are a native of Marseilles, and a sailor, and yet you do not know
+where you are going?'
+
+"'On my honour, I have no idea.'
+
+"'That is impossible.'
+
+"'I swear to you it is true. Tell me, I entreat.'
+
+"'But my orders.'
+
+"'Your orders do not forbid your telling me what I must know in ten
+minutes, in half an hour, or an hour. You see, I cannot escape, even if I
+intended.'
+
+"'Unless you are blind, or have never been outside the harbour, you must
+know.'
+
+"'I do not.'
+
+"'Look around you, then.' Dant�s rose and looked forward, when he saw rise
+within a hundred yards of him the black and frowning rock on which stands
+the Ch�teau d'If. This gloomy fortress, which has for more than three
+hundred years furnished food for so many wild legends, seemed to Dant�s
+like a scaffold to a malefactor.
+
+"'The Ch�teau d'If?' cried he. 'What are we going there for?' The gendarme
+smiled.
+
+"'I am not going there to be imprisoned,' said Dant�s; 'it is only used
+for political prisoners. I have committed no crime. Are there any
+magistrates or judges at the Ch�teau d'If?'
+
+"'There are only,' said the gendarme, 'a governor, a garrison, turnkeys,
+and good thick walls. Come, come, do not look so astonished, or you will
+make me think you are laughing at me in return for my good nature.' Dant�s
+pressed the gendarme's hand as though he would crush it.
+
+"'You think, then,' said he, 'that I am conducted to the ch�teau to be
+imprisoned there?'
+
+"'It is probable.'"
+
+The details of Dant�s' horrible confinement, at first in an upper cell,
+and later in a lower dungeon, where, as "No. 34," he became the neighbour
+of the old Abb� Faria, "No. 27," are well known of all lovers of Dumas.
+The author does not weary one, and there are no lengthy descriptions
+dragged in to merely fill space. When Dant�s finally escapes from the
+ch�teau, after he had been imprisoned for fourteen years, Dumas again
+launches into that concise, direct word-painting which proclaims him the
+master.
+
+"It was necessary for Dant�s to strike out to sea. Ratonneau and Pom�gue
+are the nearest isles of all those that surround the Ch�teau d'If; but
+Ratonneau and Pom�gue are inhabited, together with the islet of Daume;
+Tiboulen or Lemaire were the most secure. The isles of Tiboulen and
+Lemaire are a league from the Ch�teau d'If....
+
+"Before him rose a mass of strangely formed rocks, that resembled nothing
+so much as a vast fire petrified at the moment of its most fervent
+combustion. It was the isle of Tiboulen....
+
+"As he rose, a flash of lightning, that seemed as if the whole of the
+heavens were opened, illumined the darkness. By its light, he saw the isle
+of Lemaire and Cape Croiselle, a quarter of a league distant."
+
+In "The Count of Monte Cristo," Dumas makes a little journey up the valley
+of the Rh�ne into Provence.
+
+In the chapter entitled "The Auberge of the Pont du Gard," he writes, in
+manner unmistakably familiar, of this land of the troubadours, the roses,
+and the beautiful women; for the women of Arles--those world-famous
+Arlesiennes--are the peers, in looks, of all the women of France.
+
+Dumas writes of Beaucaire, of Bellegarde, of Arles, and of Aigues-Mortes,
+but not very affectionately; indeed, he seems to think all Provence "an
+arid, sterile lake," but he comes out strong on the beauty of the women of
+Arles, and marvels how they can live in the vicinity of the devastating
+fevers of the Camargue.
+
+The auberge of the Pont du Garde itself--the establishment kept by the old
+tailor, Caderousse, whom Dant�s sought out after his escape from the
+Ch�teau d'If--the author describes thus:
+
+"Such of my readers as have made a pedestrian excursion to the south of
+France may perchance have noticed, midway between the town of Beaucaire
+and the village of Bellegarde, a small roadside inn, from the front of
+which hung, creaking and flapping in the wind, a sheet of tin covered
+with a caricature resemblance of the Pont du Gard. This modern place of
+entertainment stood on the left-hand side of the grand route, turning its
+back upon the Rh�ne. It also boasted of what in Languedoc is styled a
+garden, consisting of a small plot of ground, a full view of which might
+be obtained from a door immediately opposite the grand portal by which
+travellers were ushered in to partake of the hospitality of mine host of
+the Pont du Gard. This plaisance or garden, scorched up beneath the ardent
+sun of a latitude of thirty degrees, permitted nothing to thrive or
+scarcely live in its arid soil. A few dingy olives and stunted fig-trees
+struggled hard for existence, but their withered, dusty foliage abundantly
+proved how unequal was the conflict. Between these sickly shrubs grew a
+scanty supply of garlic, tomatoes, and eschalots; while, lone and
+solitary, like a forgotten sentinel, a tall pine raised its melancholy
+head in one of the corners of this unattractive spot, and displayed its
+flexible stem and fan-shaped summit dried and cracked by the withering
+influence of the mistral, that scourge of Provence."
+
+The great fair of Beaucaire was, and is,--though Beaucaire has become a
+decrepit, tumble-down river town on the Rh�ne, with a ruined castle as
+its chief attraction,--renowned throughout France.
+
+It was here that the head of the house of Morrel, fearing lest the report
+of his financial distress should get bruited abroad at Marseilles, came to
+sell his wife's and daughter's jewels, and a portion of his plate.
+
+This fair of Beaucaire attracted a great number of merchants of all
+branches of trade, who arrived by water and by road, lining the banks of
+the Rh�ne from Arles to Beaucaire, and its transpontine neighbour,
+Tarascon, which Daudet has made famous.
+
+Caderousse, the innkeeper, visited this fair, as we learn, "in company
+with a man who was evidently a stranger to the south of France; one of
+those merchants who come to sell jewelry at the fair of Beaucaire, and
+who, during the month the fair lasts, and during which there is so great
+an influx of merchants and customers from all parts of Europe, often have
+dealings to the amount of one hundred thousand to one hundred and fifty
+thousand francs (�4,000 to �6,000)."
+
+       *       *       *       *       *
+
+That Dumas was a great traveller is well known and substantiated by the
+records he has left.
+
+When living at Toulon in the spring of 1835, as he himself tells us, he
+first came into possession of the facts which led to the construction of
+"Gabriel Lambert."
+
+There was doubtless much of truth in the tale, which appears not to be
+generally known to English readers, and it is more than probable that much
+of the incident was originally related to Dumas by the "governor of the
+port."
+
+Dumas was living at the time in a "small suburban house," within a stone's
+throw of Fort Lamalge, the prison, hard at work on his play of "Captain
+Paul"--though, as he says, he was greatly abstracted from work by the
+"contemplation of the blue Mediterranean spangled with gold, the mountains
+that blind in their awful nakedness, and of the sky impressive in its
+depth and clearness."
+
+The result of it all was that, instead of working at "Captain Paul" (Paul
+Jones), he left off working at all, in the daytime,--no infrequent
+occurrence among authors,--and, through his acquaintance with the
+governor, evolved the story of the life-history of "Gabriel Lambert."
+
+       *       *       *       *       *
+
+"Murat" was the single-worded title given by Dumas to what is perhaps the
+most subtle of the "Crimes C�l�bres." He drew his figures, of course, from
+history, and from a comparatively near view-point, considering that but
+twenty-five years had elapsed since the death of his subject.
+
+Marseilles, Provence, Hy�res, Toulon, and others of those charming towns
+and cities of the Mediterranean shore, including also Corsica, form the
+rapid itinerary of the first pages.
+
+For the action itself, it resembles nothing which has gone before, or
+which is so very horrible. It simply recounts the adventures and incidents
+in the life of the Marshal of France which befel his later years, and
+which culminated in his decapitated head being brought before the King of
+Naples as the only assurance which would satisfy him that Murat was not an
+adventurer and intriguer.
+
+There is a pleasant little town in the Midi of France by the name of
+Cahors. It is a historic town as well; in fact, it was part of the dowry
+which Henri de Navarre was to receive when he married Marguerite.
+
+The circumstance is recounted by Dumas in "The Forty-Five Guardsmen," and
+extends to some length in the most marvellously descriptive dialogue.
+
+"The poor Henri de Navarre," as Dumas called him, "was to receive as his
+wife's dowry three hundred thousand golden crowns and some towns, among
+them Cahors.
+
+"'A pretty town, _mordieu_!'
+
+"'I have claimed not the money, but Cahors.'
+
+"'You would much like to hold Cahors, Sire?'
+
+"'Doubtless; for, after all, what is my principality of B�arn? A poor
+little place, clipped by the avarice of my mother-in-law and
+brother-in-law.'
+
+"'While Cahors--'
+
+"'Cahors would be my rampart, the safeguard of my religion.'
+
+"'Well, Sire, go into mourning for Cahors; for, whether you break with
+Madame Marguerite or not, the King of France will never give it to you,
+and unless you take it--'
+
+"'Oh, I would soon take it, if it was not so strong, and, above all, if I
+did not hate war.'
+
+"'Cahors is impregnable, Sire.'
+
+"'Oh! impregnable! But if I had an army, which I have not--'
+
+"'Listen, Sire. We are not here to flatter each other. To take Cahors,
+which is held by M. de Vezin, one must be a Hannibal or a C�sar; and your
+Majesty--'
+
+"'Well?' said Henri, with a smile.
+
+"'Has just said you do not like war.'...
+
+"'Cahors is so well guarded, because it is the key of the south.'"
+
+Chapter fifty-three of the above book recounts the siege itself,--as we
+know it in history,--but with all that added picturesqueness which Dumas
+commanded.
+
+"'Henri will not pay me his sister's dowry, and Margot cries out for her
+dear Cahors. One must do what one's wife wants, for peace's sake;
+therefore I am going to try to take Cahors.'...
+
+"Henri set off at full gallop, and Chicot followed him. On arriving in
+front of his little army, Henri raised his visor, and cried:
+
+"'Out with the banner! out with the new banner!'
+
+"They drew forth the banner, which had the double scutcheon of Navarre and
+Bourbon; it was white, and had chains of gold on one side, and
+_fleurs-de-lis_ on the other.
+
+"Again the cannon from Cahors were fired, and the balls tore through a
+file of infantry near the king....
+
+"'Oh!' cried M. de Turenne, 'the siege of the city is over, Vezin.' And as
+he spoke he fired at him and wounded him in the arm....
+
+"'You are wrong, Turenne,' cried M. de Vezin; 'there are twenty sieges in
+Cahors; so, if one is over, there are nineteen to come.'
+
+"M. de Vezin defended himself during five days and nights from street to
+street and from house to house. Luckily for the rising fortunes of Henri
+of Navarre, he had counted too much on the walls and garrison of Cahors,
+and had neglected to send to M. de Biron....
+
+"During these five days and nights, Henri commanded like a captain and
+fought like a soldier, slept with his head on a stone, and awoke sword in
+hand. Each day they conquered a street or a square, which each night the
+garrison tried to retake. On the fourth night the enemy seemed willing to
+give some rest to the Protestant army. Then it was Henri who attacked in
+his turn. He forced an intrenched position, but it cost him seven hundred
+men. M. de Turenne and nearly all the officers were wounded, but the king
+remained untouched."
+
+       *       *       *       *       *
+
+The Pyrenean city of Pau is more than once referred to by Dumas in the
+Valois romances, as was but natural, considering that its ancient ch�teau
+was the _berceau_ of that Prince of B�arn who later married the intriguing
+Marguerite, and became ultimately Henri IV.
+
+This fine old structure--almost the only really splendid historical
+monument of the city--had for long been the residence of the Kings of
+Navarre; was rebuilt in the fourteenth century by the brilliant Gaston
+Phoebus; and enlarged and luxuriously embellished by the beautiful
+Marguerite herself in the sixteenth century, after she had become _la
+femme de Henri d'Albert_, as her spouse was then known.
+
+As might be expected, Dumas was exceedingly familiar with the suburban
+topography of Paris, and made frequent use of it in his novels.
+
+It is in "The Count of Monte Cristo," however, that this intimacy is best
+shown; possibly for the reason that therein he dealt with times less
+remote than those of the court romances of the "Valois" and the "Capets."
+
+When Dant�s comes to Paris,--as the newly made count,--he forthwith
+desires to be ensconced in an establishment of his own. Dumas recounts the
+incident thus:
+
+"'And the cards I ordered to be engraved as soon as you knew the number of
+the house?'
+
+"'M. le Comte, it is done already. I have been myself to the best engraver
+of the Palais Royal, who did the plate in my presence. The first card
+struck off was taken, according to your orders, to M. le Baron Danglars,
+Rue de la Chauss�e d'Antin, No. 7.'...
+
+"As the steward had said, the notary awaited him in the small salon. He
+was a simple-looking lawyer's clerk, elevated to the extraordinary dignity
+of a provincial scrivener.
+
+"'You are the notary empowered to sell the country-house that I wish to
+purchase, monsieur?' asked Monte Cristo.
+
+"'Yes, M. le Comte,' returned the notary.
+
+"'Is the deed of sale ready?'
+
+"'Yes, M. le Comte.'
+
+"'Have you brought it?'
+
+"'Here it is.'
+
+"'Very well; and where is this house that I purchase?' asked the count,
+carelessly, addressing himself half to Bertuccio, half to the notary. The
+steward made a gesture that signified, 'I do not know.' The notary looked
+at the count with astonishment.
+
+"'What!' said he, 'does not M. le Comte know where the house he purchases
+is situated?'
+
+"'No,' returned the count.
+
+"'M. le Comte does not know it?'
+
+"'How should I know it? I have arrived from Cadiz this morning. I have
+never before been at Paris: and it is the first time I have ever even set
+my foot in France!'
+
+"'Ah, that is different; the house you purchase is situated at Auteuil, in
+the Rue de la Fontaine, No. 28.' At these words Bertuccio turned pale.
+
+"'And where is Auteuil?' asked the count.
+
+"'Close here, monsieur,' replied the notary; 'a little beyond Passy; a
+charming situation, in the heart of the Bois de Boulogne.'
+
+"'So near as that?' said the count. 'But that is not in the country. What
+made you choose a house at the gates of Paris, M. Bertuccio?'
+
+"'I?' cried the steward, with a strange expression. 'M. le Comte did not
+charge me to purchase this house. If M. le Comte will recollect--if he
+will think--'
+
+"'Ah, true,' observed Monte Cristo; 'I recollect now. I read the
+advertisement in one of the papers, and was tempted by the false title, "a
+country-house."'
+
+"'It is not yet too late,' cried Bertuccio, eagerly; 'and if your
+Excellency will entrust me with the commission, I will find you a better
+at Enghien, at Fontenay-aux-Roses, or at Bellevue.'
+
+"'Oh, no,' returned Monte Cristo, negligently; 'since I have this, I will
+keep it.'
+
+"'And you are quite right,' said the notary, who feared to lose his fee.
+'It is a charming place, well supplied with spring-water and fine trees; a
+comfortable habitation, although abandoned for a long time; without
+reckoning the furniture, which, although old, is yet valuable, now that
+old things are so much sought after. I suppose M. le Comte has the tastes
+of the day?'"
+
+Whatever may have been Dumas' prodigality with regard to money matters in
+his personal affairs, he was evidently a good traveller, in the sense that
+he knew how to plan a journey with the greatest economy.
+
+One sees evidences of this in the "Count of Monte Cristo," where he
+describes the journey of Madame de Morcerf from Paris to Marseilles.
+
+"'I have made inquiries,' said Albert, 'respecting the diligences and
+steamboats, and my calculations are made. You will take your place in the
+coup� to Ch�lons. You see, mother, I treat you handsomely for thirty-five
+francs.'
+
+"Albert then took a pen, and wrote:
+
+                                                     _Frs._
+
+  Coup� to Ch�lons, thirty-five francs                 35
+  From Ch�lons to Lyons you will go on by the
+      steamboat--six francs                             6
+  From Lyons to Avignon (still by steamboat),
+      sixteen francs                                   16
+  From Avignon to Marseilles, seven francs              7
+  Expenses on the road, about fifty francs             50
+                                                     ----
+                                             Total    114
+
+"'Let us put down 120,' added Albert, smiling. 'You see I am generous; am
+I not, mother?'
+
+"'But you, my poor child?'
+
+"'I! do you not see I reserve eighty francs for myself? A young man does
+not require luxuries; besides, I know what travelling is.'
+
+"'With a post-chaise and _valet de chambre_?'"
+
+The route is practicable even to-day, though probably not at the prices
+given, and one does not go by steamboat from Ch�lons to Lyons, though he
+may from Lyons to Avignon.
+
+
+
+
+CHAPTER XVIII.
+
+LES PAYS �TRANGERS
+
+
+Dumas frequently wandered afield for his _mise-en-sc�ne_, and with varying
+success; from the "Corsican Brothers," which was remarkably true to its
+_locale_, and "La Tulipe Noire," which was equally so, if we allow for a
+certain perspective of time, to "Le Capitaine Pamphile," which in parts,
+at least, is gross exaggeration or burlesque.
+
+Once only, to any great extent, did he go to Germany for his inspirations,
+and then only to German legend,--where so many others had been
+before,--and have since.
+
+In "Otho the Archer" is found a repetition of the Knight and Swan legend
+so familiar to all. It has been before--and since--a prolific source of
+supply to authors of all ranks and nationalities: Goethe, Schiller,
+Hoffman, Brentano, Fouqu�, Scott, and others.
+
+The book first appeared in 1840, before even "Monte Cristo" and "Les
+Trois Mousquetaires" were published as _feuilletons_, and hence, whatever
+its merits may be, it is to be classed as one of his immature efforts,
+rather than as a piece of profound romancing.
+
+The story of adventure, of battle, and of love-making is all there, but
+his picture of the scenery and life of the middle ages on the Rhine are,
+of course, as purely imaginary as is the romantic background of myth and
+legend.
+
+Of all the works dealing with foreign lands,--or, at least, foreign to his
+pen,--Dumas' "Black Tulip" will ever take a pre�minent rank. Therein are
+pictures of Holland life and of the Hollandaise which, like the
+pen-drawings of Stevenson in "Catriona," will live far more vividly in the
+minds of most readers than volumes of mere dissertation written by others.
+
+The story opens with a recounting of the tragedy of the brothers Cornelius
+and Jacobus de Windt, which, though not differing greatly from historical
+fact, is as vivid and terrible an account of the persecutions of mortal
+man as any similar incident in romance itself, of whatever age and by
+whomever written.
+
+Dumas was in Amsterdam, in 1849, at the coronation of William III., where
+it has been said--by Flotow, the composer--that the king remarked to
+Dumas that none of the scenes of his romances had as yet been laid in the
+Netherlands, and thereupon told him what was substantially the story of
+"La Tulipe Noire." This first appeared as the product of Dumas' hand and
+brain in 1850.
+
+This is perhaps more or less a legendary account of its inception; like
+many another of the reasons for being of Dumas' romances, but it is
+sufficiently plausible and well authenticated to warrant acceptance,
+though it has been said, too, that it was to Paul Lacroix--"Bibliophile
+Jacob"--that Dumas owed the idea of the tale.
+
+At all events, it is a charming pen-picture of Holland; shows a wonderful
+love and knowledge of the national flower, the tulip, and is one of the
+most popular of all Dumas' tales, if we except the three cycles of
+romances, whose scenes and incidents are based on the history of French
+court life.
+
+Not for many years did the translators leave "La Tulipe Noire" unnoticed,
+and for over a half-century it has enjoyed a vogue which is at least
+comprehensible.
+
+Its plot and characters are most ingeniously and dextrously handled, but
+its greatest charm is incident to the process of evolving the famous black
+tulip from among the indigenous varieties which, at the time of the scene
+of the novel, had not got beyond the brilliantly variegated yellows and
+reds. From the various stages of mauve, purple, brown, and, finally,
+something very nearly akin to black, the flowering bulb finally took form,
+as first presented to a wide-spread public by Dumas.
+
+The celebrated Alphonse Karr, a devoted lover of flowers, took the trouble
+to make a "romancers' garden," composed of trees and flowers which
+contemporary novelists, finding the laws of nature too narrow for them,
+had described in their books. This imaginary garden owed to George Sand a
+blue chrysanthemum, to Victor Hugo a Bengal rose without thorns, to Balzac
+a climbing azalea, to Jules Janin a blue pink, to Madame de Genlis a green
+rose, to Eugene Sue a variety of cactus growing in Paris in the open air,
+to Paul F�val a variety of larch which retained its leaves during winter,
+to Forgues a pretty little pink clematis which flourished around the
+windows in the Latin quarter, to Rolle a scented camellia, and to Dumas
+the black tulip and a white lotus. The black tulip, it may be remarked,
+though unknown in Dumas' day, has now become an accomplished fact.
+
+Dumas, though not a botanist, had charming, if not very precise, notions
+about flowers,--as about animals,--and to him they doubtless said:
+
+      "Nous sommes les filles du feu secret,
+  Du feu qui circule dans les veines de la terre;
+  Nous sommes les filles de l'aurore et de la ros�e,
+      Nous sommes les filles de l'air,
+      Nous sommes les filles de l'eau;
+  Mais nous sommes avant tout les filles du ciel."
+
+Dumas wandered much farther afield than the land of his beloved Valois. To
+Italy, to Spain, to Algeria, to Corsica, to Germany, and even to Russia.
+Mostly he made use of his experiences in his books of travel, of which
+"Les Impressions du Voyage" is the chief.
+
+Who would read the narrative of the transactions which took place in
+Russia's capital in the early nineteenth century, should turn to "Les
+M�moires d'un Ma�tre d'Armes," or "Dix-huit Mois � St. Petersburgh." It
+presents a picture of the Russian life of the time, in which--the critics
+agree--there is but slight disguise. Its story--for it is confessedly
+fiction--turns upon the fortunes of a young subaltern, who played a
+considerable part in the conspiracy of 1825, and, it has been said by a
+contemporary writer of the time, hardly any circumstance but the real name
+of the young man is disguised.
+
+It is in the main, or, at least, it has for its principal incident, the
+story of a political exile, and it is handled with Dumas' vivid and
+consummate skill, which therein proves again that the mere romancist had a
+good deal of the historian about him.
+
+Besides the _locale_ of "La Tulipe Noire," Dumas takes the action of "The
+Forty-Five Guardsmen" into the Netherlands. Fran�ois, the Duc d'Anjou, had
+entered Belgium and had been elected Duc de Brabant, Sovereign Prince of
+Flanders. At this time it was supposed that Elizabeth of England saw the
+opportunity of reuniting the Calvinists of Flanders and France with those
+of England, and so acquire a triple crown. Then follows an account of the
+attack on Antwerp, which resulted in final defeat of the French, and
+presents one of the most graphic descriptions of a battle to be found in
+the pages of Dumas. The historic incident of the interview in Duc
+Fran�ois' tent, between that worthy and the French Admiral de Joyeuse, is
+made much of by Dumas, and presents a most picturesque account of this
+bloody battle. The topography of Antwerp and the country around about is
+as graphic as a would-be painting.
+
+"'But,' cried the prince, 'I must settle my position in the country. I am
+Duke of Brabant and Count of Flanders, in name, and I must be so in
+reality. This William, who is gone I know not where, spoke to me of a
+kingdom. Where is this kingdom?--in Antwerp. Where is he?--probably in
+Antwerp also; therefore we must take Antwerp, and we shall know how we
+stand.'
+
+"'Oh! monseigneur, you know it now, or you are, in truth, a worse
+politician than I thought you. Who counselled you to take Antwerp?--the
+Prince of Orange. Who disappeared at the moment of taking the field?--the
+Prince of Orange. Who, while he made your Highness Duke of Brabant,
+reserved for himself the lieutenant-generalship of the duchy?--the Prince
+of Orange. Whose interest is it to ruin the Spaniards by you, and you by
+the Spaniards?--the Prince of Orange. Who will replace you, who will
+succeed, if he does not do so already?--the Prince of Orange. Oh!
+monseigneur, in following his counsels you have but annoyed the Flemings.
+Let a reverse come, and all those who do not dare to look you now in the
+face, will run after you like those timid dogs who run after those who
+fly.'
+
+"'What! you imagine that I can be beaten by wool-merchants and
+beer-drinkers?'
+
+"'These wool-merchants and these beer-drinkers have given plenty to do to
+Philippe de Valois, the Emperor Charles V., and Philippe II., who were
+three princes placed sufficiently high, monseigneur, for the comparison
+not to be disagreeable to you.'"
+
+In "Pascal Bruno," Dumas launched into a story of Sicilian brigandage,
+which has scarce been equalled, unless it were in his two other tales of
+similar purport--"Cherubino et Celestine," and "Ma�tre Adam le Calabrais."
+
+Originally it formed one of a series which were published in one
+volume--in 1838--under the title of "La Salle d'Armes, Pauline, et Pascal
+Bruno."
+
+According to the "M�moires," a favourite rendezvous of Dumas in Paris, at
+this period, was Grisier's fencing-room. There it was that the _ma�tre
+d'armes_ handed him the manuscript entitled "Eighteen Months at St.
+Petersburg,"--that remarkable account of a Russian exile,--and it is there
+that Dumas would have his readers to believe that he collected the
+materials for "Pauline" and "Murat."
+
+The great attraction of "The Corsican Brothers" lies not so much with
+Corsica, the home of the _vendetta_, the land of Napoleon, and latterly
+known politically as the 86me Departement de France, as with the events
+which so closely and strenuously encircled the lives of the brothers De
+Franchi in Paris itself.
+
+Corsican life and topography is limned, however, with a fidelity which has
+too often been lacking in Dumas' description of foreign parts. Perhaps,
+as has been said before, he extracted this information from others; but
+more likely--it seems to the writer--it came from his own intimate
+acquaintance with that island, as it is known that he was a visitor there
+in 1834.
+
+If this surmise be correct, the tale was a long time in taking shape,--an
+unusually long time for Dumas,--as the book did not appear until 1845, the
+same year as the appearance of "Monte Cristo" in book form.
+
+It was dedicated to Prosper Merim�e, whose "Colomba" ranks as its equal as
+a thrilling tale of Corsican life.
+
+It has been remarked that, curiously enough, in spite of the fact that the
+story has been so often dramatized and adapted for the stage,--and acted
+by persons of all shades and grades of ability,--Dumas never thought well
+enough of it to have given it that turn himself.
+
+Dumas' acquaintance with Naples never produced any more lucid paragraphs
+descriptive of character, and the local colour and scenic effect besides,
+than in the few short pages of "Les P�cheurs du Filet." It comes, of
+course, as a result of Dumas' rather extended sojourn in Italy.
+
+When Dumas actually did write scenic descriptions, they were exceedingly
+graphic,--though not verbose,--and exceedingly picturesque,--though not
+sentimental,--as witness the following lines which open the tale--though
+he does make use a little farther on of the now trite tag, "See Naples and
+die."
+
+"Every morning on awakening I was in the habit of resting my elbows on the
+window-sill and gazing far out over the limpid and sparkling mirror of the
+Tyrrhenian Sea.... At night the bay is so intensely blue that, under more
+favourable conditions, it resembles those leaden-hued lakes, such as
+Avernus, the Fucine Lake, or Lake Agnano,--all in the neighbourhood of
+Naples, which cover the craters of extinct volcanoes."
+
+The story gives further a wonderful pen-portrait of Ladislas I. of
+Hungary, of Jerusalem, and of Sicily, and of the barbaric torture of "The
+Question," which was performed upon the aspiring lover of Joanna of
+Naples.
+
+Rome figures chiefly in "The Count of Monte Cristo," wherein half a dozen
+chapters are devoted to the "Eternal City." Here it is that Monte Cristo
+first meets Albert de Morcerf, son of one of that trio of enemies on whom
+the count has sworn revenge. De Morcerf, enjoying the pleasures of the
+Roman carnival, is captured by bandits, from whom he is rescued by the
+count, who, in saving the son, makes the first move of vengeance against
+the father.
+
+Various interesting parts of Rome are described and touched upon,--the
+Teatro Argentino, the Colosseum, the Plaza del Popolo--scene of the public
+executions of that time,--the catacombs of San Sebastian, and many others.
+The characteristic and picturesque manners and customs of the Romans, from
+_noblesse_ to peasants, are set down here in vivid and graphic style; and
+it is clearly plain that when Dumas sojourned in Rome he "did as the
+Romans do."
+
+Dumas' familiarity with Switzerland was no greater or no less than his
+knowledge of Spain, of Italy, of Russia, or of Corsica. In his volumes of
+travel, "Impressions du Voyage," are many charming bits of narrative which
+might well be extracted and elaborated into what is otherwise known as
+fiction. With regard to "Pauline," this is exactly what did happen, or,
+rather, the relationship between the Pauline of the novelette and the
+Pauline of "La Voyage en Suisse" is one based upon a common parentage.
+
+Switzerland early attracted Dumas' attention. He took his first tour in
+the cantons in 1832, partly as a means of convalescing from a severe
+illness, and partly because he was in danger of arrest for the too active
+part taken by him in the public funeral of General Lamarque and the riots
+that followed. No sooner was Dumas _en route_ than the leaves of his
+note-book were torn asunder and despatched forthwith to the then newly
+founded _Revue des Deux Mondes_.
+
+At Fl�elen, that high Alpine pass, the mysterious veiled Pauline de
+Meulien and her cavalier, Alfred de N----, make their first appearance.
+One feels intuitively that here are the elements of a drama, of which the
+author will avail himself before long. The voyages continue, however, and
+the veiled lady fails to reappear until the end of the journey, when
+another transitory glimpse of her is had at Pfeffers.
+
+This Pauline's adventures evidently demanded more space than the travels
+could afford, and became ultimately a novelette.
+
+"Pauline" is one of Dumas' early attempts at fiction, and is told with
+originality, and a very considerable skill. Nearly twenty years after
+"Pauline" was written, Dumas told us that he met the counterpart of the
+villain of the story, Horace de Beuzeval, who consigned the beautiful
+Pauline to a living burial in the old abbey vault on the coast of
+Normandy, near Trouville.
+
+Dumas' pictures of Switzerland are more or less conventional; with him the
+story was the thing, and the minuti� of stage setting but a side issue.
+
+       *       *       *       *       *
+
+In "Les Crimes C�l�bres," Dumas goes back to history, though he sticks to
+France, with the exception of those dealing with the Borgias and Mary
+Stuart.
+
+The crimes of the Borgias--and they were many--end the series, though they
+cover but the period 1492-1507. The most unnatural and quite the most
+despicable being the throwing into the Tiber by C�sar Borgia the cadaver
+of his brother. Rome, the Popes, and Italy in general form much of the
+venue, but the political history of France, Spain, and Austria enter
+largely into the movement of the chronicle, and such widely separated
+towns of France as Perpignan, in the Comt� de Roussillon in the south, and
+Hesdin, Etaples, and Bethune in the north, all play their parts in the
+political treaties of the time.
+
+
+THE END.
+
+
+
+
+Appendix I.
+
+DUMAS' ROMANCES AND HISTORICAL STUDIES CLASSED IN CHRONOLOGICAL ORDER
+
+
+  B.C. 100 C�sar.
+  B.C. 64 Gaule et France.
+  A.D. 57 Act�.
+  740-1425 Les Hommes de Fer.
+  740 P�pin.
+  748 Charlemagne.
+  1076 Guelfes et Gibelins.
+  1099 Prax�de.
+  1157 Ivanhoe.
+  1162 Le Prince de Voleurs.
+  1162 Robin Hood.
+  1248 Dom Martins de Freytas.
+  1291-1737 Les M�dicis.
+  1324-1672 Italiens et Flamands.
+  1324 Ange Gaddi.
+  1338 La Comtesse de Salisbury.
+  1356 Pierre le Cruel.
+  1385 Monseigneur Gaston Phoebus.
+  1388 Le Batard de Maul�on.
+  1389 Isabel de Bavi�re.
+  1402 Masaccio.
+  1412 Fr�re Philippe Lippi.
+  1414 La P�che aux Filets.
+  1425 Le Sire de Giac.
+  1429 Jehanne la Pucelle.
+  1433 Charles le T�m�raire.
+  1437 Alexandre Botticelli.
+  1437-1587 Les Stuarts.
+  1446 Le P�rugin.
+  1452 Jean Bellin.
+  1470 Quintin Metzys.
+  1474-1576 Trois Ma�tres.
+  1474-1564 Michel-Ange.
+  1477-1576 Titien.
+  1483-1520 Rapha�l.
+  1484 Andr� de Mantegna.
+  1486 L�onard da Vinci.
+  1490 Fra Bartolomm�o.
+  1490 Sogliana.
+  1492 Le Pincturiccio.
+  1496 Luca de Cranach.
+  1503 Baldassare Peruzzi.
+  1504 Giorgione.
+  1512 Baccio Bandinelli.
+  1512 Andr� del Sarto.
+  1519 Le Salteador.
+  1523 Jacques de Pontormo.
+  1530 Jean Holbein.
+  1531 Razzi.
+  1537 Une Nuit � Florence.
+  1540 Jules Romain.
+  1540 Ascanio.
+  1542 Albert Durer.
+  1531 Les Deux Dianes.
+  1553 Henri IV.
+  1555 Le Page du Duc de Savoie.
+  1559 L'Horoscope.
+  1572 La Reine Margot.
+  1578 La Dame de Monsoreau.
+  1585 Les Quarante-Cinq.
+  1585 Louis XIII. et Richelieu.
+  1619-1825 Les Drames de la Mer.
+  1619 Boutiko�.
+  1621 Un Courtesan.
+  1625 Les Trois Mousquetaires.
+  1637 La Colombe.
+  1638-1715 Louis XIV. et Son Si�cle.
+  1639 La Princesse de Monaco.
+  1640 Gu�rard Berck-Heyden.
+  1645 Vingt Ans Apr�s.
+  1650 La Guerre des Femmes.
+  1660 Le Vicomte de Bragelonne.
+  1672 Fran�ois Mi�ris.
+  1672 La Tulipe Noire.
+  1683 La Dame de Volupt�.
+  1697 M�moires d'une Aveugle.
+  1697 Les Confessions de la Marquise.
+  1703 Les Deux Reines.
+  1710-1774 Louis XV. et Sa Cour.
+  1715-1723 La R�gence.
+  1718 Le Chevalier d'Harmental.
+  1719 Une Fille du R�gent.
+  1729 Olympe de Cl�ves.
+  1739 La Maison de Glace.
+  1754-1789 Louis XVI. et la R�volution.
+  1762-1833 Mes M�moires.
+  1769-1821 Napol�on.
+  1770 Joseph Balsamo.
+  1772 Le Capitaine Marion.
+  1779 Le Capitaine Paul.
+  1784 Le Collier de la Reine.
+  1785 Le Docteur Myst�rieux.
+  1788 Ing�nue.
+  1789 Ange Pitou.
+  1789 Le Chateau d'Eppstein.
+  1790 La Comtesse de Charny.
+  1791 La Route de Varennes.
+  1792 C�cile.
+  1793 Le Chevalier de Maison-Rouge.
+  1793 La Fille du Marquis.
+  1793 Blanche de Beaulieu.
+  1793 Le Drame de '93.
+  1794 Les Blancs et les Bleus.
+  1795 La Junon.
+  1798 La San F�lice.
+  1799 Emma Lyonna.
+  1799 Les Compagnons de J�hu.
+  1800 Souvenirs d'une Favorite.
+  1807 M�moires de Garibaldi.
+  1812 Le Capitaine Richard.
+  1815 Murat.
+  1824 Le Maitre d'Armes.
+  1825 Le Kent.
+  1831 Les Louves de Machecoul.
+  1838-1858 Les Morts Vont Vite.
+  1838 H�g�sippe Moreau.
+  1842 Le Duc d'Orl�ans.
+  1848 Chateaubriand.
+  1849 La Derni�re Ann�e de Marie Dorval.
+  1857 B�ranger.
+  1857 Eug�ne Sue.
+  1857 Alfred de Musset.
+  1857 Achille Dev�ria.
+  1857 Lef�vre-Deumier.
+  1858 La Duchesse d'Orl�ans.
+  1860 Les Garibaldiens.
+  1866 La Terreur Prussienne.
+
+
+
+
+Appendix II.
+
+DUMAS' ROMANCES, SKETCHES, AND "NOUVELLES INTIMES" CLASSED IN
+CHRONOLOGICAL ORDER
+
+
+  1469 Isaac Laquedem.
+  1708 Sylvandire.
+  1754 Le Pasteur d'Ashbourn.
+  1774 Le Testament de M. de Chauvelin.
+  1780 Le Meneur de Loups.
+  1793 La Femme au Collier de Velours.
+  1797 Jacques Ortis.
+  1799 Souvenirs d'Antony.
+  1805 Un Cadet de Famille.
+  1806 Aventures de John Davys.
+  1810 Les Mariages du P�re Olifus.
+  1810 Le Trou de l'Enfer.
+  1812 Jane.
+  1814 Le Comte de Monte-Cristo.
+  1815 Conscience l'Innocent.
+  1817 Le P�re La Ruine.
+  1824 Georges.
+  1827 Les Mohicans de Paris.
+  1827 Salvator.
+  1828 Sultanetta.
+  1828 Jacquot sans Oreilles.
+  1829 Catherine Blum.
+  1829 La Princesse Flora.
+  1830 Dieu Dispose.
+  1830 La Boule de Neige.
+  1831 Le Capitaine Pamphile.
+  1831 Les Drames Galants.
+  1831 Le Fils du For�at.
+  1831 Les Mille et un Fant�mes.
+  1832 Une Vie d'Artiste.
+  1834 Pauline.
+  1835 Fernande.
+  1835 Gabriel Lambert.
+  1838 Amaury.
+  1841 Les Fr�res Corses.
+  1841 Le Chasseur de Sauvagini.
+  1842 Black.
+  1846 Parisiens et Provinciaux.
+  1847 L'Ile de Feu.
+  1856 Madame de Chamblay.
+  1856 Une Aventure d'Amour.
+
+
+
+
+Appendix III.
+
+DUMAS' TRAVELS CLASSED IN CHRONOLOGICAL ORDER
+
+
+  1830 Quinze Jours au Sinai.
+  1832 Suisse.
+  1834 Le Midi de la France.
+  1835 Une Ann�e � Florence.
+  1835 La Ville Palmieri.
+  1835 Le Speronare. (Sicile.)
+  1835 Le Capitaine Arena. (Sicile.)
+  1835 Le Corricolo. (Naples.)
+  1838 Excursions sur les Bords du Rhin.
+  1839 La Vie au D�sert. (Afrique m�ridionale.)
+  1843 L'Arabie Heureuse.
+  1846 De Paris � Cadix.
+  1846 Le V�loce (Tanger, Alger, Tunis.)
+  1850 Un Gil Blas en Californie.
+  1853 Un Pays Inconnu. (Havane, Br�sil.)
+  1858 En Russie.
+  1858 Le Caucase.
+  1858 Les Baleiniers.
+
+
+
+
+Index
+
+
+  Abbaye de Montmartre, 227.
+
+  Abbey of St. Denis, 142, 143.
+
+  Abbey of St. Genevieve, 37, 136, 187, 253.
+
+  Abelard and Helo�se, 82.
+
+  About, Edmond, 42, 188.
+
+  Acad�mie Fran�aise, 228.
+
+  Aigues-Mortes, 139, 347.
+
+  Alais, 160.
+
+  Al�gres, D', 224.
+
+  Alen�on, 79, 326.
+
+  Algiers, 45.
+
+  Alicante, 159.
+
+  All�e de la Muette, 231.
+
+  All�e des Cygnes, 11.
+
+  Alsace and Lorraine, 11.
+
+  "Ambigu," The, 54.
+
+  Amsterdam, 361.
+
+  "An Englishman in Paris" (Vandam), 94, 116.
+
+  "Ange Pitou," see Works of Dumas.
+
+  Angers, 332-334.
+
+  Angers, Castle of, 333.
+
+  Angers, David d', 82.
+
+  Angl�s, Count, 151.
+
+  Anjou, 333.
+
+  Anjou, Duc d', 365.
+
+  Anne of Austria, 115, 266, 289, 312.
+
+  "Anthony," see Works of Dumas.
+
+  Antwerp, 365.
+
+  Aramis, 45, 49, 246, 247, 252, 300, 329.
+
+  Aramitz, Henry d', see Aramis.
+
+  Arc de Triomphe, 147.
+
+  Arc de Triomphe du Carrousel, 135.
+
+  Arc de Triomphe d'Etoile, 88, 138, 192.
+
+  Argenteuil, 314.
+
+  Arles, 347, 349.
+
+  Arnault, Lucien, 18, 71.
+
+  Arras, 49, 324.
+
+  Artagnan, 49.
+
+  Artagnan, see D'Artagnan.
+
+  Asni�res, 171.
+
+  Athos, 45, 49, 246-248, 252, 313.
+
+  Auber, 117.
+
+  "Au Fid�le Berger," 205.
+
+  Augennes, Jacques d', 315.
+
+  Augennes, Regnault d', 315.
+
+  "Au Grand Roi Charlemagne," 248.
+
+  Aumale, D', 323.
+
+  Auteuil, 87.
+
+  Auvergne, 321.
+
+  Auxerre, 159.
+
+  Avedick, 289.
+
+  Avenel, Georges, 101-103.
+
+  Avenue de la Grande Arm�e, 139.
+
+  Avenue de l'Op�ra, 114, 149.
+
+  Avenue de Villiers, 124.
+
+  Avignon, 359.
+
+
+  Balzac, 69, 82, 127, 363.
+
+  Barb�s, 179.
+
+  Barbizon, 71.
+
+  Barras, 74.
+
+  Barrere, 143.
+
+  Bartholdi's "Liberty," 11.
+
+  Bastille, The, 149, 152, 173, 196, 225, 241, 263, 268, 278, 284-287,
+      292, 295, 296.
+
+  Bath, 76.
+
+  Batignolles, 87.
+
+  Batz, Baron de, 50.
+
+  Batz de Castlemore, Charles de, see D'Artagnan.
+
+  Baudry, 129, 151.
+
+  Bauville, Theodore de, 51.
+
+  Bavaria, 77.
+
+  Beaucaire, 347-349.
+
+  Beaufort, Duke of, 289.
+
+  Beausire, 254.
+
+  Belgium, 8, 92, 365.
+
+  Bellegarde, 347.
+
+  Belle Ile, 327-329.
+
+  Belleville, 87.
+
+  Bellune, Duc de, 84.
+
+  B�ranger, 3, 68, 71.
+
+  Bercy, 87.
+
+  Bernhardt, Sara, 191.
+
+  Berry, Duchesse de, 152.
+
+  Bertuccio, 328.
+
+  Besan�on, 92.
+
+  Bethune, 372.
+
+  Beuzeval, Horace de, 371.
+
+  Biard, 224.
+
+  "Biblioth�que Royale," 50, 131, 135, 253.
+
+  Bic�tre, 234.
+
+  Bigelow, John, 125.
+
+  Billot, Father, 18, 23, 24.
+
+  "Black Tulip," see Works of Dumas.
+
+  _Blackwood's Magazine_, 257.
+
+  Blanc, Louis, 75, 179.
+
+  Blanqui, 179.
+
+  Blois, 155, 246, 330-332.
+
+  Blois, Ch�teau de, 330, 331.
+
+  Bohemia, 95, 96.
+
+  Boieldieu, 82, 153.
+
+  Bois de Boulogne, 89, 150, 192, 231, 298, 319.
+
+  Bois de Meudon, 303.
+
+  Bois de Vincennes, 89, 147, 150, 319.
+
+  Boissy, Adrien de, 255, 256.
+
+  Bondy, 315.
+
+  Bordeaux, 151, 154, 159, 342.
+
+  Borgias, The, 372.
+
+  Boulevard des Italiens, 92, 93, 114, 187, 213, 231.
+
+  Boulevard du Prince Eug�ne, 140.
+
+  Boulevard Henri Quatre, 285.
+
+  Boulevard Magenta, 140, 149.
+
+  Boulevard Malesherbes, 103, 140, 149.
+
+  Boulevard Raspail, 252.
+
+  Boulevard Sebastopol, 140, 149.
+
+  Boulevard St. Denis, 135, 147.
+
+  Boulevard St. Germain, 128, 140, 149, 252.
+
+  Boulevard St. Martin, 135, 147, 149.
+
+  Boulogne, 160.
+
+  Bourges, 155.
+
+  Bourg, L'Abb�, 130.
+
+  Bourgogne, 105.
+
+  Bourse, The, 89, 91.
+
+  Brabant, Duc de, 365.
+
+  Brentano, 360.
+
+  Brest, 90, 91, 160.
+
+  Breteuil, De, 296.
+
+  Bridges:
+    Cahors, 172.
+    Lyons, 172.
+    Orthos, 172.
+    St. B�nezet d'Avignon, 172.
+    See under Pont also.
+
+  Brillat-Savarin, 102, 103.
+
+  Brinvilliers, Marquise de, 286, 287.
+
+  Brionze, 79.
+
+  Brittany, 327, 328.
+
+  Broggi, Paolo, 118.
+
+  Brown, Sir Thomas, 142.
+
+  Brozier, 31.
+
+  Brussels, 44, 76.
+
+  "Bruyere aux Loups," 23.
+
+  Buckingham, 322.
+
+  Buckle, 96.
+
+  Bureau d'Orleans, 8, 31, 58, 84, 187.
+
+  Burns, 43.
+
+  Bussy, 333.
+
+  Buttes Chaumont, 190, 314.
+
+  Byron, 43.
+
+
+  "Cachot de Marie Antoinette," 238.
+
+  Caderousse, 347, 349.
+
+  Caen, 326.
+
+  Caf� de Paris, 111, 187, 189.
+
+  Caf� des Anglais, 118.
+
+  Caf� du Roi, 18.
+
+  Caf� Riche, 118.
+
+  Cagliostro, 295, 296.
+
+  Cahors, 351.
+
+  Cahors, Bridge of, 172.
+
+  Calais, 159, 160, 321-324, 327.
+
+  Calcutta, 76.
+
+  Calixtus II., 198.
+
+  Cambac�r�s, Delphine, 82.
+
+  Canebi�re, The, 342.
+
+  Cantal, 321.
+
+  Capetians, The, 194.
+
+  "Capitaine Pamphile," see Works of Dumas.
+
+  "Capitaine Paul" (Paul Jones), see Works of Dumas.
+
+  Carcassonne, 139.
+
+  Carlyle, 69.
+
+  Carmelite Friary, 246, 252.
+
+  "Caserne Napoleon," 140.
+
+  Caspian Sea, The, 44.
+
+  Castle of Angers, 333.
+
+  Castle of Pierrefonds, 324.
+
+  Cathedral de N�tre Dame (Chartres), 329.
+
+  Cathedral of N�tre Dame de Rouen, 187.
+
+  "Catriona" (Stephenson), 361.
+
+  Caucasus, 8.
+
+  "Causeries," see Works of Dumas.
+
+  Caussidi�re, Marc, 178, 179.
+
+  Cavaignac, General, 179.
+
+  Ceinture Railway, 89, 303.
+
+  Cenci, The, 285.
+
+  Chaffault, De, 46.
+
+  Ch�let de Monte Cristo, see Residences of Dumas.
+
+  Ch�lons, 359.
+
+  Chambord, 332.
+
+  Chambre des D�put�s, 8, 138, 167, 187.
+
+  Champs Elys�es, 95, 136, 150.
+
+  Changarnier, General, 181.
+
+  Chanlecy, Charlotte Anne de, 50.
+
+  Chantilly, 297, 298.
+
+  Charenton, 87.
+
+  Charlemagne, 129, 193.
+
+  Charles I., 267.
+
+  Charles VI., 315, 325.
+
+  Charles VII., 131.
+
+  Charles VIII., 132.
+
+  Charles IX., 133, 212, 217, 236, 253, 263, 311, 320, 333.
+
+  Charles X., 156, 270.
+
+  Charles-le-T�m�raire, 215.
+
+  Charpillon, M., 8.
+
+  Chartres, 329, 330.
+
+  Chartres, Cathedral de N�tre Dame, 329.
+
+  Chartres, Duc de (Philippe d'Orleans), 267.
+
+  Chateaubriand, 68, 147.
+
+  Ch�teau de Blois, 330, 331.
+
+  Ch�teau d'If, 45, 339, 340, 343, 347.
+
+  Ch�teau de Rambouillet, 315.
+
+  Ch�teau de Rocca Petrella, 285.
+
+  Ch�teau de Vincennes, 319, 320.
+
+  Ch�teau of Madrid, 298, 319.
+
+  Ch�teau Neuf, 303, 312, 313.
+
+  Chateaurien, Ren� de, 319.
+
+  Ch�telet du Monte Cristo, 303.
+
+  Chatillon-sur-Seine, 169.
+
+  Ch�nier, Andr�, 68, 71.
+
+  Cherbourg, 160.
+
+  "Cherubino et Celestine," see Works of Dumas.
+
+  "Cheval de Bronze," 172.
+
+  "Chevalier d'Harmental," see Works of Dumas.
+
+  "Chicot the Jester" ("La Dame de Monsoreau"), see Works of Dumas.
+
+  Childebert, 129, 212.
+
+  Child�rie, 129.
+
+  Chopin, 82.
+
+  Christine of Sweden, 123.
+
+  Churches, see under �glise.
+
+  Cimeti�re des Innocents, 197, 221.
+
+  Cimeti�re P�re la Chaise, see P�re la Chaise.
+
+  Cinq-Mars, 224.
+
+  Civil War, The, 50.
+
+  Claremont, 180.
+
+  Cl�ment-Thomas, Gen., 227.
+
+  Clovis, 129.
+
+  "Clymnestre," 19.
+
+  "Coches d'Eau," 156.
+
+  Coconnas, 173.
+
+  Coligny, 260.
+
+  Coligny, _fils_, 224.
+
+  Coll�ge des Quatre Nations, 135, 173.
+
+  "Colomba," 368.
+
+  Colonne de Juillet, 88.
+
+  Com�die Fran�aise, 190.
+
+  "_Commission des Monuments Historiques_," 278.
+
+  "_Commission du Vieux Paris_," 193.
+
+  Commune, The, 185, 192, 196, 227, 263, 264.
+
+  "Compagnie G�n�rale des Omnibus," 153.
+
+  Compi�gne, 24, 46, 246, 286, 297, 298, 317-319.
+
+  "Comtesse de Charny," see Works of Dumas.
+
+  Conciergerie, 92, 236, 238, 240, 241, 263, 286.
+
+  Cond�, 224, 320.
+
+  Conflans-Charenton, 171.
+
+  Contades, Count G. de, 79.
+
+  Conti, Prince de, 90.
+
+  Corneille, 224.
+
+  Corot, 72, 73, 191.
+
+  Corsica, 8, 337, 351, 367.
+
+  "Corsican Brothers," see Works of Dumas.
+
+  Cosne, 155.
+
+  Couloir St. Hyacinthe, 228.
+
+  Courbevoie, 314.
+
+  Cour du Justice, 241.
+
+  "Count of Monte Cristo," see Works of Dumas.
+
+  Cours la Reine, 133.
+
+  Cr�py-en-Valois, 15, 16, 24, 46, 83, 315, 317, 318, 321.
+
+  "Crimes C�l�bres" ("Celebrated Crimes"), see Works of Dumas.
+
+  Cul-de-sac des Marchands des Chevaux, 286.
+
+  "Cyrano de Bergerac," 43.
+
+
+  Dammartin, 16, 24, 317.
+
+  Damploux, 24.
+
+  Danglars, Baron, 109, 231, 261.
+
+  Dant�s, 229, 231, 328, 344, 346, 347, 355.
+
+  Darnley, 324.
+
+  Daubonne, 214.
+
+  Daudet, 3, 349.
+
+  David, 82.
+
+  "David Copperfield," 34.
+
+  D'Al�gres, The, 224.
+
+  D'Angers, David, 82.
+
+  D'Anjou, Duc, 365.
+
+  D'Aramitz, Henry, see Aramis.
+
+  D'Artagnan, 45, 48-50, 56, 127, 200, 201, 206, 214, 223, 225, 245-247,
+      252, 267, 313, 328, 329.
+
+  D'Artagnan Romances, 148, 171, 195, 205, 215, 225, 235, 247, 254, 266,
+      312, 330, 331.
+
+  D'Augennes, Jacques, 315.
+
+  D'Augennes, Regnault, 315.
+
+  D'Aumale, 323.
+
+  De Batz, Baron, 50.
+
+  De Batz de Castlemore, Charles, see D'Artagnan.
+
+  De Bauville, Theodore, 51.
+
+  De Bellune, Duc, 84.
+
+  De Berry, Duchesse, 152.
+
+  De Beuzeval, Horace, 371.
+
+  De Boissy, Adrien, 255, 256.
+
+  De Brabant, Duc, 365.
+
+  De Breteuil, 296.
+
+  De Brinvilliers, Marquise, 286, 287.
+
+  De Chaffault, 46.
+
+  De Chanlecy, Charlotte Anne, 50.
+
+  De Chartres, Duc (Philippe d'Orleans), 267.
+
+  De Chateaurien, Ren�, 319.
+
+  De Contades, Count G., 79.
+
+  De Conti, Prince, 90.
+
+  D'Enghien, Duc, 320.
+
+  D'Estr�es, Gabrielle, 228, 260.
+
+  De Flesselles, 196.
+
+  De France, Henriette, 267.
+
+  De Franchi, 213, 232, 255, 367.
+
+  De Franchi, Louis, 319.
+
+  De Genlis, Madame, 363.
+
+  De Guise, Cardinal, 323.
+
+  De Guise, Duc, 224, 253, 278, 301, 323.
+
+  De Guise, Duchesse, 122, 323.
+
+  De Jallais, Am�d�e, 232.
+
+  De Joyeuse, Admiral, 365.
+
+  De la Mole, 212.
+
+  De la Motte, Madame, 228, 241, 307.
+
+  De Launay, 284.
+
+  De Leuven, Adolphe, 14, 16, 18.
+
+  De Lesdequieres, Duchesse, 293.
+
+  De Longueville, Madame, 224.
+
+  De Marsillac, Prince, 90.
+
+  De Mauge, Marquis, 214.
+
+  De Maupassant, Guy, 228.
+
+  De Medici, Marie, 133, 224, 260.
+
+  De Medici, Catherine, 208, 212, 264.
+
+  De Merle, 18.
+
+  De Meulien, Pauline, 371.
+
+  De Montford, Comtes, 315.
+
+  De Montmorenci, Duc, 255.
+
+  De Montpensier, Duc, 45.
+
+  De Morcerf, Albert, 369.
+
+  De Morcerf, Madame, 358.
+
+  De Musset, Alfred, 68, 82, 95, 123.
+
+  De Nemours, M., 323.
+
+  De Nerval, Gerard, 123.
+
+  De Nevers, Duchesse, 197.
+
+  D'Orleans, Louis, 324.
+
+  De Poissy, G�rard, 130.
+
+  De Poitiers, Diane, 260.
+
+  De Portu, Jean, see Porthos.
+
+  De Retz, Cardinal, 320.
+
+  De Richelieu, see Richelieu.
+
+  De Rohan, 37, 224.
+
+  De S�vign�, Madame, 102, 223.
+
+  De Sillegue, Colonel, 49.
+
+  De Sillegue d'Athos, Armand, see Athos.
+
+  De Sorbonne, Robert, 244.
+
+  De Ste. Croix, Gaudin, 286.
+
+  De Talleyrand, Henri, 214.
+
+  De Treville, 49, 246, 251.
+
+  De Valois, see under Valois.
+
+  De Vigny, 68.
+
+  De Villefort, 261, 340.
+
+  De Villemessant, 52.
+
+  De Volterre, Ricciarelli, 224.
+
+  De Wardes, 322.
+
+  De Windt, Cornelius, 361.
+
+  De Windt, Jacobus, 361.
+
+  De Winter, Lady, 223.
+
+  Debret, 117.
+
+  Decamps, 191.
+
+  Delacroix, 73, 82, 97, 191.
+
+  Delavigne, 18, 82.
+
+  Delrien, 18.
+
+  Demidoff, Prince, 189.
+
+  "Dernier Jour d'un Condamn�," 239.
+
+  D�saugiers, 31.
+
+  Desbordes-Valmore, Madame, 70.
+
+  D�scamps, Gabriel, 221.
+
+  Desmoulins, Camille, 268.
+
+  Dibdin, 150.
+
+  Dickens, Charles, 34.
+
+  "Dictionnaire de Cuisine," see Works of Dumas.
+
+  Dieppe, 8, 66.
+
+  "Director of Evacuations at Naples," 45, 57.
+
+  "Dix-huit Mois � St. Petersburgh," see Works of Dumas.
+
+  Don Quixote, 245.
+
+  Dor�, Gustave, 123, 140, 149.
+
+  Douai, 49.
+
+  Dover, 154, 322.
+
+  _Drapeau Blanc_, 31.
+
+  Ducercen, 313.
+
+  Ducis, 121.
+
+  Dujarrier-Beauvallon, 75-77.
+
+  Dumas:
+    Monuments to, see under Monuments.
+    Residences of, see under Residences.
+    Title of, see under Title.
+    Travels of, see under Travels.
+    Works of, see under Works.
+
+  Dumas, General, Marquis de la Pailleterie, 26, 27, 47.
+
+  Dumas, _fils_, 64, 66, 67, 75, 78, 79, 81, 121, 124.
+
+  Duprez, 117.
+
+
+  �cole des Beaux Arts, 244.
+
+  �cole de Droit, 136, 183, 244.
+
+  �cole de M�dicine, 244.
+
+  "�cole des Viellards," 18.
+
+  �cole Militaire, 136.
+
+  Edict of Nantes, 334.
+
+  �glise de la Madeleine, 88, 138, 149, 153.
+
+  �glise de Notre Dame, 86, 129, 167, 198, 235, 263, 286.
+
+  �glise de St. Gervais, 132.
+
+  �glise de St. Merry, 132.
+
+  �glise de St. Paul et St. Louis, 133.
+
+  �glise St. Etienne du Mont, 167, 253, 254.
+
+  �glise St. Eustache, 192.
+
+  �glise St. Germain l'Auxerrois, 132, 212, 260.
+
+  �glise St. Innocents, 142, 144, 223.
+
+  �glise St. Jacques, 198.
+
+  �glise St. Roch, 134.
+
+  �glise St. Severin, 167.
+
+  �glise St. Sulpice, 167.
+
+  "Eighteen Months at St. Petersburg," 367.
+
+  Elba, 25, 219, 337.
+
+  Elizabeth, 365.
+
+  Elys�e, The, 25, 103.
+
+  Enghien, Duc d', 320.
+
+  England, 8, 50.
+
+  Epinac, 160.
+
+  Ermenonville, 24.
+
+  Esplanade des Invalides, 150.
+
+  Estaminet du Divan, 118.
+
+  Estr�es, Gabrielle d', 228, 260.
+
+  Etaples, 372.
+
+
+  "Fabrique des Romans," 38.
+
+  Falaise, 326.
+
+  Faubourg St. Denis, 220.
+
+  Faubourg St. Germain, 83, 132.
+
+  Faubourg St. Honor�, 83.
+
+  Fernand, 261.
+
+  Ferry, Gabriel, 233.
+
+  F�val, Paul, 363.
+
+  _Figaro, The_, 52.
+
+  Flanders, 321.
+
+  Flaubert, Gustave, 77.
+
+  Flesselles, De, 196.
+
+  Fleury, General, 76.
+
+  Florence, 115.
+
+  Fontainebleau, 155, 297, 298, 300, 302, 303, 315.
+
+  Fontaine des Innocents, 145, 187, 193, 222.
+
+  For�t de Compi�gne, 318, 319.
+
+  For�t de l'Aigue, 286.
+
+  Forgues, 363.
+
+  Fort de Vincennes, 320.
+
+  Fort Lamalge, 350.
+
+  "Forty-Five Guardsmen," see Works of Dumas.
+
+  Fosses de la Bastille, 137.
+
+  Fouqu�, 360.
+
+  Fouquet, 199, 289, 298, 300, 320.
+
+  Foy, General, 31, 82, 84.
+
+  France, Henriette de, 267.
+
+  Franchi, De, 213, 232, 255, 367.
+
+  Franchi, Louis de, 319.
+
+  Francis, 18.
+
+  Fran�ois I., 131-134, 144, 197, 198, 260, 313.
+
+  Franco-Prussian War, 57, 164, 192.
+
+  Fronde, 89.
+
+
+  "Gabriel Lambert," see Works of Dumas.
+
+  Gaillardet, 238.
+
+  Gare de l'Est, 162.
+
+  Gare du Nord, 162.
+
+  Gare St. Lazare, 161.
+
+  Garibaldi, 37.
+
+  Garnier, 190.
+
+  Gascony, 50.
+
+  Gaston of Orleans, 331.
+
+  Gautier, 68, 71, 72, 123.
+
+  Gay, Mme. Delphine, 70.
+
+  Genlis, Madame de, 363.
+
+  "Georges," see Works of Dumas.
+
+  Germany, 8, 360.
+
+  Girondins, The, 194.
+
+  Glinel, Charles, 26.
+
+  Godot, 151.
+
+  Goethe, 68, 360.
+
+  "Golden Lion," 316.
+
+  Gondeville, 24.
+
+  Gouff�, Armand, 31.
+
+  Goujon, Jean, 132, 223, 260.
+
+  Granger, Marie, 327.
+
+  Grenelle, 95.
+
+  Grisier, 75, 367.
+
+  "Guido et G�nevra" (Hal�vy), 54.
+
+  Guilbert, 205.
+
+  Guise, Cardinal de, 323.
+
+  Guise, Duc de, 224, 253, 278, 301, 323.
+
+  Guise, Duchesse de, 122, 323.
+
+  Guizot, 69.
+
+
+  Hal�vy, 54, 70, 117.
+
+  Hamerton, Philip Gilbert, 168.
+
+  Hamilton, 324.
+
+  "Hamlet," 121.
+
+  Haramont, 23.
+
+  Hautes-Pyr�n�es, 49.
+
+  Havre, 150, 160, 169, 179, 180, 326.
+
+  Henri I., 323.
+
+  Henri II., 132, 172, 303, 312, 323.
+
+  Henri III., 122, 133, 172, 323, 333.
+
+  Henri IV., 133, 134, 143, 217, 224, 235, 236, 260, 303, 312, 320, 323,
+      351, 354.
+
+  Henri V., 181.
+
+  "Henri III. et Sa Cour," see Works of Dumas.
+
+  "Hernani," 122.
+
+  Herold, 82.
+
+  Hesdin, 372.
+
+  "Histoire de Jules C�sar" (Napoleon III.), 73.
+
+  "Histoire des Prisons de Paris," 238.
+
+  "History of Civilization" (Buckle), 96.
+
+  Hoffman, 360.
+
+  Honfleur, 169, 179.
+
+  H�pital des Petites Maisons, 132.
+
+  H�pital du St. Jacques du Haut Pas, 133.
+
+  H�tel Boulainvilliers, 228.
+
+  H�tel Chevreuse, 127, 128, 252.
+
+  H�tel D'Artagnan, 214.
+
+  H�tel de Bourgogne, 133, 215.
+
+  H�tel de Choiseul, 115.
+
+  H�tel de Cluny, 167.
+
+  H�tel de Coligny, 278.
+
+  H�tel de Duc de Guise, 278.
+
+  H�tel de France, 248.
+
+  H�tel des Invalides, 135, 149, 167.
+
+  "H�tel de la Belle Etoile," 208, 212.
+
+  H�tel de la Monnaie, 136, 248.
+
+  H�tel de Louvre, 102.
+
+  H�tel de Mercoeur, 266.
+
+  H�tel des Montmorencies, 278.
+
+  H�tel des Mousquetaires, 207, 210.
+
+  H�tel des Postes, 154.
+
+  H�tel de Soissons, 133.
+
+  H�tel de Venise, 234.
+
+  H�tel de Ville, 132, 137, 191, 196, 197, 204, 318.
+
+  H�tel du Vieux-Augustins, 16.
+
+  H�tel la Tr�mouille, 251.
+
+  H�tel Longueville, 89.
+
+  "H�tel Picardie," 214.
+
+  H�tel Rambouillet, 266.
+
+  H�tel Richelieu, 266.
+
+  Hugo, Victor, 3, 37, 68, 71, 73, 79, 82, 122, 127, 155, 156, 158, 223,
+      239, 363.
+
+  Hugo, P�re, 82.
+
+  Huntley, 324.
+
+  Hy�res, 351.
+
+
+  Ile de la Cit�, 86, 131, 133, 165, 169, 172, 235.
+
+  Ile St. Louis, 165, 169.
+
+  "Impressions du Voyage," see Works of Dumas.
+
+  "Inn of the Beautiful Peacock," 300.
+
+  Irving, Washington, 41.
+
+  Island of Monte Cristo, 338.
+
+  Isle of France (Mauritius), 46.
+
+  Italy, 8, 44.
+
+  Ivry, 88.
+
+
+  Jacquot, 51.
+
+  Jallais, Am�d�e de, 233.
+
+  James II., 303.
+
+  Janin, Jules, 363.
+
+  Jardin des Plantes, 134, 149.
+
+  "Jeanne d'Arc," see Works of Dumas.
+
+  Jean-sans-Peur, 215.
+
+  Jerome, Prince, 271.
+
+  Jerusalem, 369.
+
+  Jesuit College, 132.
+
+  "Jeune Malade," 205.
+
+  Joanna of Naples, 369.
+
+  Joigny, 46, 58.
+
+  Jourdain, Marshal, 84.
+
+  Jouy, 18.
+
+  Joyeuse, Admiral de, 365.
+
+  "Jugurtha," 45.
+
+  Jussac, 252.
+
+
+  Karr, Alphonse, 363.
+
+  "Kean," see Works of Dumas.
+
+  Kipling, 41.
+
+  Kotzebue, 285.
+
+
+  L'Abb� Metel de Bois-Robert, 228.
+
+  La Beauce, 166.
+
+  La Brie, 166.
+
+  Lachambeaudie, 82.
+
+  Lacenaire, 240.
+
+  La Chapelle, 87.
+
+  La Ch�tre, 70.
+
+  "La Chevrette," 214.
+
+  La Cit�, 129, 130, 166, 167, 235, 247.
+
+  "La Compagne Lafitte et Caillard," 157.
+
+  Lacroix, Paul, 362.
+
+  "La Dame aux Cam�lias," 79.
+
+  La Dame aux Cam�lias, see Plessis, Alphonsine, 78.
+
+  "La Dame de Monsoreau" ("Chicot the Jester"), see Works of Dumas.
+
+  Ladislas I. of Hungary, 369.
+
+  "La Feuille" (Arnault), 71.
+
+  _La France_, 163.
+
+  Lamartine, 68, 71, 179.
+
+  Lambert, Gabriel, 326, 327.
+
+  Langeais, 332.
+
+  "La Pastissier Fran�aise," 104.
+
+  "La P�t� d'Italie," 93.
+
+  _La Presse_, 75.
+
+  _La Revue_, 54, 64.
+
+  La Rochelle, 49.
+
+  La Roquette, 263, 278.
+
+  Lassagne, 31.
+
+  Latin Quarter, see Quartier Latin.
+
+  "La Tour de Nesle," see Works of Dumas.
+
+  Launay, De, 284.
+
+  La Ville, 130, 166, 167.
+
+  La Villette, 24, 87, 137.
+
+  Lebrun, Madame, 179.
+
+  "Le Ch�telet," 204.
+
+  Leclerc, Captain, 229.
+
+  "Le Collier de la Reine" (The Queen's Necklace), see Works of Dumas.
+
+  Lecomte, General, 227.
+
+  _Le Gaulois_, 163.
+
+  Legislative Assembly, 183.
+
+  _Le Livre_, 79.
+
+  Lemarquier, 239.
+
+  Lemercier, 19.
+
+  _Le Mousquetaire_, 44.
+
+  "Le Nord" Railway, 160.
+
+  _Le Peuple_, 98.
+
+  Lescot, Pierre, 222, 260.
+
+  Lesdequieres, Duchesse de, 293.
+
+  "Les Fran�aises," 157.
+
+  Les Grandes Eaux, 303.
+
+  Les Halles, 206, 222, 263.
+
+  "Les P�cheurs du Filet," see Works of Dumas, 368.
+
+  "L'Est" Railway, 160.
+
+  Les Ternes, 87.
+
+  "Les Trois Mousquetaires," see Works of Dumas.
+
+  "Le Stryge," 198.
+
+  Leuven, Adolphe de, 14, 16, 18.
+
+  _L'Homme-Libre_, 75.
+
+  Lille, 49, 160.
+
+  "L'Image de N�tre Dame," 199, 201.
+
+  Limerick, 76.
+
+  L'Institut, 167.
+
+  Lisbon, 77.
+
+  Lisieux, 326.
+
+  Loire, The, 155, 160, 168, 329-331.
+
+  London, 76, 105, 150, 154, 179, 189, 321.
+
+  London Tower, 185.
+
+  Long�, 79.
+
+  Longueville, Madame de, 224.
+
+  "L'Orleans" Railway, 160, 161, 192.
+
+  "L'Ouest" Railway, 160.
+
+  Louis I., 77.
+
+  Louis IV., 220.
+
+  Louis VII., 130, 173.
+
+  Louis VIII., 144.
+
+  Louis XI., 12, 131.
+
+  Louis XII., 131, 134.
+
+  Louis XIII., 133, 214, 224, 266.
+
+  Louis XIV., 50, 104, 115, 134, 135, 143, 224, 260, 267, 288, 289, 303,
+      304, 312, 328, 330, 331.
+
+  Louis XV., 135, 166, 318.
+
+  Louis XVI., 196, 264, 315.
+
+  Louis XVIII., 143, 154, 262.
+
+  Louis-Philippe, 31, 38, 58, 69, 72, 86, 88, 104, 116, 153, 180, 193,
+      268, 270.
+
+  Louvre, The, 89, 132, 135, 136, 167, 173, 175, 184, 187, 195, 208, 212,
+      215, 221, 241, 255, 258-264, 315.
+
+  Loyola, Ignatius, 227.
+
+  Lulli, 115.
+
+  L'Universit�, 127, 130, 166, 167, 244, 248.
+
+  _Lut�ce_, 86.
+
+  Luxembourg, The, 133, 167, 187, 191, 245-247, 251, 253-255.
+
+  Luxembourg, Gardens of the, 70, 150, 253.
+
+  Lyc�e Henri Quatre, 253.
+
+  Lyons, 157, 159, 172, 301, 342, 359.
+
+
+  Mackeat (Maquet), Augustus, 39-42.
+
+  Madeleine, The (Church), 88, 138, 149, 153.
+
+  Madelonnettes, The, 134.
+
+  Madrid, 159.
+
+  Madrid, Ch�teau of, 298, 319.
+
+  Maestricht, 50.
+
+  Magazin St. Thomas, 147.
+
+  "_Maison Dumas et Cie_," 40, 51.
+
+  "Ma�tre Adam le Calabrais," see Works of Dumas.
+
+  Malmesbury, Lord, 76.
+
+  Mandrin, Pierre, 91.
+
+  "Man in the Iron Mask, The," 288, 289.
+
+  Mantes, 165, 169.
+
+  Marat, Jean Paul, 229.
+
+  Marcel, Etienne, 130, 193.
+
+  Margot, 236.
+
+  "Marguerite de Valois," see Works of Dumas.
+
+  Marie Antoinette, 50, 236, 238.
+
+  Marne, 165.
+
+  Marrast, Armand, 179.
+
+  Mars, Mlle., 123.
+
+  Marseilles, 155, 219, 229, 261, 339-342, 349, 351, 358.
+
+  Marsillac, Prince de, 90.
+
+  Mattioli, 290.
+
+  Mauge, Marquise de, 214.
+
+  Maupassant, Guy de, 228.
+
+  Mauritius (Isle of France), 46.
+
+  Mazarin, 37, 115, 211, 267, 273, 275.
+
+  "Mechanism of Modern Life," 101.
+
+  Medici, Marie de, 133, 224, 260.
+
+  Medici, Catherine de, 208, 212, 264.
+
+  "Meditations" (Lamartine), 68.
+
+  Mediterranean, The, 45, 327, 336, 340.
+
+  "M�moires," see Works of Dumas.
+
+  "M�moires de M. d'Artagnan," 49.
+
+  "M�moires d'un Ma�tre d'Armes," see Works of Dumas.
+
+  M�nilmontant, 87.
+
+  Mennesson, 14.
+
+  M�rim�e, 69, 159, 368.
+
+  Merle, De, 18.
+
+  Merov�e, 129.
+
+  M�ryon, 126-128, 198.
+
+  "Mes B�tes," see Works of Dumas.
+
+  "Messageries � Cheval," 157.
+
+  "Messageries Royale," 157.
+
+  "Metropolitain," 204.
+
+  Metz, 157.
+
+  Meulan, 165.
+
+  Meulien, Pauline de, 371.
+
+  Meyerbeer, 117.
+
+  Michelangelo, 224.
+
+  Michelet, 69, 82, 98-100.
+
+  Mignet, 69.
+
+  Millet, 71.
+
+  Minister of the Interior, 183.
+
+  Mirabeau, 320.
+
+  Mohammed Ali, 88.
+
+  Mole, De la, 212.
+
+  Moli�re, 224.
+
+  Moll�, Mathieu, 211.
+
+  Monast�re des Feuillants, 133.
+
+  Monet, 187.
+
+  Monmouth, Duke of, 289.
+
+  Monselet, Charles, 163.
+
+  Monstrelet, 215.
+
+  Montargis, 155.
+
+  "Monte Cristo," see Works of Dumas.
+
+  Monte Cristo, Island of, 45, 338.
+
+  Montez, Lola, 76, 78.
+
+  Montford, Comtes de, 315.
+
+  Montmartre, 87, 142, 146, 188, 190, 227, 314.
+
+  Montmartre, Abbaye of, 227.
+
+  Montmorenci, Duc de, 255.
+
+  Montpensier, Duc de, 45.
+
+  Mont Valerien, 88.
+
+  Monuments to Dumas, 140, 149.
+
+  Morcerf, Mme. de, 358.
+
+  Morcerf, Albert de, 369.
+
+  Morrel, House of, 349.
+
+  Motte, Mme. de la, 228, 241, 307.
+
+  Moulin Rouge, 227.
+
+  Moulin de la Galette, 227.
+
+  Mount of Martyrs, 227.
+
+  M�ller, 241.
+
+  Munier, Georges, 46.
+
+  Murat, 351.
+
+  "Murat," see Works of Dumas.
+
+  M�rger, Henri, 96.
+
+  Mus�e, Cluny, 5.
+
+  Musset, Alfred de, 68, 82, 95, 123.
+
+  "Mysteries of Paris," 99.
+
+
+  Nadaud, Gustave, 96.
+
+  Nancy, 157, 160.
+
+  Nantes, 151, 334-336.
+
+  Nantes, Edict of, 334.
+
+  Nanteuil, 24.
+
+  Naples, 8, 368.
+
+  Napoleon I., 1, 25, 74, 88, 116, 137, 138, 192, 193, 218, 219, 244, 260,
+      265, 270, 313, 325, 367.
+
+  Napoleon III., 54, 73, 74, 89, 102, 144, 180, 181, 183-185, 260, 265,
+      271, 315, 325.
+
+  Napoleon, Jerome, 45.
+
+  Nemours, De, 323.
+
+  Nerval, Gerard de, 123.
+
+  Netherlands, The, 365.
+
+  Nevers, Duchesse de, 197.
+
+  New York, 11, 105.
+
+  Nodier, Charles, 69, 82, 104, 156.
+
+  Nogaret, 238.
+
+  Nogent, 88.
+
+  Noirtier, M., 229.
+
+  Normandy, 326, 327.
+
+  Notre Dame, see under �glise.
+
+  Notre Dame de la Garde (Marseilles), 342.
+
+
+  Obelisk, The, 88.
+
+  Observatoire, The, 135, 244.
+
+  Od�on, The, 123, 167, 187.
+
+  "Odes et Ballades" (Hugo), 68.
+
+  "Oedipus," 122.
+
+  "Old Mortality," 121.
+
+  Oliva, 255.
+
+  Oloron, 49.
+
+  Omnibus, Companies:
+    "Compagnie G�n�rale des Omnibus," 153.
+    "La Compagne Lafitte et Caillard," 157.
+    "Les Fran�aises," 157.
+    "Messageries Royales," 157.
+    "Messageries � Cheval," 157.
+
+  "Op�ra," The, 89, 91, 95, 114, 115, 118, 190.
+
+  Op�ra Comique, 190.
+
+  Oratoire, The, 134.
+
+  Orleans, 155, 160, 237, 330.
+
+  Orleans, House of, 181, 324.
+
+  Orthez, 49.
+
+  Orthon, 208.
+
+  Orthos, 172.
+
+  Orthos, Bridge of, 172.
+
+  "Otho the Archer," 360.
+
+  Ourcq (river), 137.
+
+
+  Pailleterie, Marquis de la, see Dumas, General.
+
+  Palais Bourbon, 187.
+
+  Palais Cardinal, 134, 266.
+
+  Palais de Justice, 236, 239, 241.
+
+  Palais de la Bourse, 137.
+
+  Palais de l'Industrie, 141.
+
+  Palais de la R�volution, 270.
+
+  Palais des Arts, 173.
+
+  Palais des Beaux Arts, 138, 143, 238.
+
+  Palais des Tournelles, 133.
+
+  Palais National, 183.
+
+  Palais Royale, 16, 31, 95, 115, 134, 167, 183, 187, 224, 228, 246, 247,
+      266-273, 275.
+
+  Panorama Colbert, 148.
+
+  Panorama Delorme, 148.
+
+  Panorama de l'Op�ra, 148.
+
+  Panorama du Saumon, 148.
+
+  Panorama Jouffroy, 148.
+
+  Panorama Vivienne, 148.
+
+  Panth�on, The, 37, 136, 167, 187, 252, 253.
+
+  Paraclet, 81.
+
+  Parc Monceau, 228.
+
+  "Paris-Lyon et M�diterran�e" (P. L. M.) Ry., 160, 161, 192.
+
+  "Pascal Bruno," see Works of Dumas.
+
+  Passerelle, Constantine, 170.
+
+  Passerelle de l'Estacade, 170.
+
+  Passerelle St. Louis, 170.
+
+  Passy, 87, 150.
+
+  Pau, 354.
+
+  "Pauline," see Works of Dumas.
+
+  "Paul Jones" ("Capitaine Paul"), see Works of Dumas.
+
+  Pennell, Joseph, 168.
+
+  P�re la Chaise, 81, 142, 146, 188, 239, 340.
+
+  Perpignan, 372.
+
+  Petit Pont, 170.
+
+  Petits Augustins, 143.
+
+  Pfeffers, 371.
+
+  Philippe-Auguste, 130, 134, 144, 260.
+
+  Phoebus, Gaston, 354.
+
+  Pierrefonds, 246, 317.
+
+  Pierrefonds, Castle of, 324.
+
+  Picardie, 321.
+
+  "Pilon d'Or," 205.
+
+  Pitou, Louis Ange, 18, 23, 24, 317.
+
+  Place Dauphine, 133, 235.
+
+  Place de Bourgogne, 182.
+
+  Place de la Bastille, 148, 167, 187, 225, 296.
+
+  Place de la Concorde, 136, 138, 148, 162, 193, 263.
+
+  Place de la Croix-Rouge, 252.
+
+  Place de la Gr�ve, 166, 197-199, 201, 234, 239, 287.
+
+  Place de l'H�tel de Ville, 148, 197.
+
+  Place de la Madeleine, 194.
+
+  Place de la Nation, 147.
+
+  Place de la R�volution, 263.
+
+  Place de St. Sulpice, 148, 252.
+
+  Place des Victoires, 148.
+
+  Place des Vosges, 148, 223, 225.
+
+  Place du Carrousel, 89, 138, 148, 221.
+
+  Place du Ch�telet, 148, 205, 286.
+
+  Place du Palais Bourbon, 148.
+
+  Place du Palais Royal, 148.
+
+  Place du Panth�on, 148.
+
+  Place Malesherbes, 123, 124, 140, 149.
+
+  Place Maubert, 286.
+
+  Place Royale, 133, 134, 148, 223-225.
+
+  Place St. Antoine, 225.
+
+  Place Vendome, 137, 148.
+
+  Plaine de St. Denis, 95.
+
+  Plessis, Alphonsine, (La Dame aux Cam�lias), 78.
+
+  Poe, E. A., 41, 43.
+
+  Poissy, G�rard de, 130.
+
+  Poitiers, Diane de, 260.
+
+  Pompeii, 5, 45, 57.
+
+  Pont Alexandre, 173.
+
+  Pont au Change, 135, 170, 171, 173.
+
+  Pont Audemer, 326.
+
+  Pont aux Doubles, 170.
+
+  Pont de l'Archev�che, 170.
+
+  Pont d'Arcole, 170.
+
+  Pont d'Austerlitz, 170.
+
+  Pont de Bercy, 170.
+
+  Pont de la Cit�, 170.
+
+  Pont des Arts, 170, 172.
+
+  Pont de S�vres, 302.
+
+  Pont des Invalides, 88.
+
+  Pont du Carrousel, 88, 171, 235.
+
+  Pont du Garde, 347.
+
+  Pont du Pecq, 311, 314.
+
+  Pont l'Ev�que, 327.
+
+  Pont, le Petit, 168.
+
+  Pont Louis XV., 173.
+
+  Pont Louis-Philippe, 88, 170.
+
+  Pont Maril, 170.
+
+  Pont Napol�on, 170.
+
+  Pont Neuf, 133, 134, 170, 171, 173.
+
+  Pont Notre Dame, 170.
+
+  Pont Royal, 135, 157.
+
+  Pont St. Michel, 170.
+
+  Pont Tournelle, 170.
+
+  Porette, Marguerite, 239.
+
+  Porte du Canal de l'Ourcq, 139.
+
+  Porte du Temple, 131.
+
+  Porte Marly, 314.
+
+  Porte St. Antoine, 221.
+
+  Porte St. Denis, 131, 220, 221.
+
+  Porte St. Honor�, 131.
+
+  Porte St. Martin, 104, 113, 115, 153.
+
+  Porthos, 45, 49, 246, 247, 252, 324.
+
+  Portu, Jean de, see Porthos.
+
+  Prison du Grand Ch�telet, 204.
+
+  Proudhon, M., 178.
+
+  Provence, 347, 351.
+
+  Puits, 80.
+
+  Puys, 8, 66.
+
+
+  Quai de Conti, 133, 170, 248.
+
+  Quai de la Gr�ve, 166, 197, 199, 206.
+
+  Quai de la Megisserie, 133.
+
+  Quai de la Monnai, 172.
+
+  Quai de l'Arsenal, 133.
+
+  Quai de l'�cole, 133, 173.
+
+  Quai de l'Horloge, 133, 236.
+
+  Quai de l'H�tel de Ville, 197, 206.
+
+  Quai des Augustins, 133.
+
+  Quai des Ormes, 197.
+
+  Quai des Orphelins, 133.
+
+  Quai d'Orleans, 343.
+
+  Quai d'Orsay, 138, 170.
+
+  Quai du Louvre, 170, 172.
+
+  Quai Voltaire, 170.
+
+  Quartier des Infants-Rouges, 228.
+
+  Quartier du Marais, 133.
+
+  Quartier Latin, 96, 185, 244.
+
+  "Quentin Durward," 13.
+
+
+  Rachel, 191.
+
+  Railways:
+    "Ceinture," 89, 303.
+    "L'Est," 160.
+    "Le Nord," 160.
+    "L'Orleans," 160, 161, 192.
+    "L'Ouest," 160, 303.
+    "P. L. M." (Paris-Lyon et M�diterran�e), 160, 161, 192.
+
+  Rambouillet, 297, 298, 315, 316.
+
+  Ranke, 259.
+
+  Raspail, 179.
+
+  Ravaillac, 224.
+
+  Reade, Charles, 81.
+
+  "Regulus," 18.
+
+  Reims, 129, 156.
+
+  Rempart des Fosses, 130.
+
+  Renaissance, 132.
+
+  Residences of Dumas, 44, 93, 103, 112, 124, 147, 148, 150, 188, 220,
+      303.
+
+  Restaurant du Pavillon Henri Quatre, 160.
+
+  "Restoration," The, 87, 138, 154, 155.
+
+  Retz, Cardinal de, 520.
+
+  Revolutions, The, 4, 44, 136, 138, 140, 154, 164, 172, 178-180, 193,
+      196, 224, 227, 325.
+
+  _Revue des Deux Mondes_, 371.
+
+  Rhine, The, 8.
+
+  Rh�ne, 347, 349.
+
+  Richelieu, 37, 224, 225, 228, 244, 252, 266, 289.
+
+  Richelieu, Mar�chal, 109.
+
+  Rizzio, 324.
+
+  Roanne, 160.
+
+  "Robert le Diable," 116.
+
+  Robespierre, 324.
+
+  Robsart, Amy, 121.
+
+  Roche-Bernard, 329.
+
+  Rochefort, 18.
+
+  Rohan, De, 37, 224.
+
+  "Roi d'Yvetot" (B�ranger), 71.
+
+  Roland, Madame, 235.
+
+  Rolle, 363.
+
+  Rollin, Ledru, 179.
+
+  Rossini, 82.
+
+  Rostand, 43.
+
+  Rouen, 77, 159, 160, 169, 327.
+
+  Rougemont, 31.
+
+  Rousseau, 7.
+
+  "Royal Tiger," 316.
+
+  Rubens, 191.
+
+  Rue Beaubourg (Le Beau-Bourg), 130.
+
+  Rue Beaujolais, 228.
+
+  Rue Bourtebourg (Le Bourg Thibourg), 130.
+
+  Rue Cassette, 246.
+
+  Rue Castiglione, 137, 147.
+
+  Rue Charlot, 228.
+
+  Rue Coq-H�ron, 229-231.
+
+  Rue d'Amsterdam, 188.
+
+  Rue Dauphine, 133.
+
+  Rue de Bac, 72, 147.
+
+  Rue de Bethusy, 278.
+
+  Rue de Bons Enfants, 272.
+
+  Rue de Douai, 187.
+
+  Rue de Faubourg St. Denis, 220, 221.
+
+  Rue de Grenelle, 147.
+
+  Rue de l'Arbre-Sec, 206, 211.
+
+  Rue de la Chauss�e d'Antin, 147, 231.
+
+  Rue de la Concorde, 183.
+
+  Rue de la Harpe, 246.
+
+  Rue de Lancry, 152.
+
+  Rue de la Martellerie, 215.
+
+  Rue de Lille, 255.
+
+  Rue de la Paix, 137, 147.
+
+  Rue de l'Universit�, 147.
+
+  Rue de Rivoli, 140, 147, 148.
+
+  Rue des �coles, 140.
+
+  Rue des Fossoyeurs, 246, 252.
+
+  Rue des Lombards, 205.
+
+  Rue des Rosiers, 227.
+
+  Rue des Vieux-Augustins, 234.
+
+  Rue de Tivoli, 137.
+
+  Rue de Valois, 228.
+
+  Rue du Chaume, 278.
+
+  Rue du Helder, 213, 232, 255.
+
+  Rue du Louvre, 230.
+
+  Rue du Monte Blanc, 84.
+
+  Rue du Vieux-Colombier, 251, 252.
+
+  Rue Drouet, 95.
+
+  Rue Ferou, 246.
+
+  Rue Guenegard, 248.
+
+  Rue Herold, 234.
+
+  Rue Lafitte, 95.
+
+  Rue Lepelletier, 114.
+
+  Rue Louis le Grand, 94.
+
+  Rue Mathieu Moll�, 212.
+
+  Rue Pelletier, 234.
+
+  Rue Pigalle, 187.
+
+  Rue Rambuteau, 92.
+
+  Rue Richelieu, 102, 112, 115, 147.
+
+  Rue Roquette, 225.
+
+  Rue Royal, 183.
+
+  Rue Servandoni, 246.
+
+  Rue Sourdi�re, 228.
+
+  Rue St. Antoine, 131, 133, 147, 285.
+
+  Rue St. Denis, 220.
+
+  Rue St. Eleuth�re, 227.
+
+  Rue St. Honor�, 147, 228.
+
+  Rue St. Lazare, 188.
+
+  Rue St. Martin (Le Bourg St. Martin), 130.
+
+  Rue St. Roch, 148.
+
+  Rue Taitbout, 214, 231.
+
+  Rue Tiquetonne, 214, 246, 247.
+
+  Rue Vaugirard, 127, 246, 252.
+
+  Rue Vivienne, 147.
+
+  Rupert, Prince, 50.
+
+  Russia, 8, 44.
+
+
+  Sabot, Mother, 24.
+
+  Sainte Chapelle, 236.
+
+  Saint Foix, 135.
+
+  Salc�de, 201.
+
+  Salon d'Automne, 191.
+
+  Salons, 161.
+
+  Salp�tri�re, The, 134.
+
+  Sand, George, 44, 70, 97, 188, 363.
+
+  Sand, Karl Ludwig, 285.
+
+  Sa�ne, 168.
+
+  Sarcey, Francisque, 163.
+
+  Sardou, 122.
+
+  "Saul," 18.
+
+  Schiller, 360.
+
+  Scotland, 323.
+
+  Scott, Sir Walter, 13, 41, 74, 121, 360.
+
+  Scribe, Eugene, 70, 82, 187.
+
+  Sebastiani, General, 84.
+
+  Second Empire, 89, 138, 140, 153, 163, 193.
+
+  Second Republic, 89, 181.
+
+  Seine, The, 72, 98, 130, 137, 148, 156, 165-171, 173-175, 190, 248, 255,
+      302, 303, 311, 314.
+
+  Senlis, 317.
+
+  Sens, 46.
+
+  S�vign�, Madame de, 102, 223.
+
+  Seville, 76.
+
+  Shakespeare, 121, 122.
+
+  Sicily, 337, 369.
+
+  Sillegue, Colonel de, 49.
+
+  "Site d'Italie" (Corot), 72.
+
+  Smith, William, 179.
+
+  "Soir" (Corot), 72.
+
+  Soissons, 7.
+
+  Soldain, 259.
+
+  Sorbonne, 134, 167, 245.
+
+  Sorbonne, Robert de, 244.
+
+  Souli�, 68, 82, 121.
+
+  Soumet, 18.
+
+  Soyer, 103.
+
+  Spain, 8, 45, 160.
+
+  St. Bartholomew's Night, 259, 263.
+
+  St. Beauvet, 69.
+
+  St. B�nezet d'Avignon, 172.
+
+  St. Cloud, 157, 314.
+
+  Ste. Croix, Gaudin de, 286.
+
+  St. Denis, 227, 314.
+
+  St. Denis, Abbey of, 142, 143.
+
+  St. Etienne-Andr�zieux, 160.
+
+  Ste. Genevi�ve, 253, 254.
+
+  Ste. Genevieve, Abbey of 37, 136, 187, 253.
+
+  St. Germain, 44, 56, 58, 160, 267, 297, 298.
+
+  St. Germain, Abbot of, 166.
+
+  St. Germain des Pr�s, 130.
+
+  St. Germain-en-Laye, 303, 304, 310-315.
+
+  St. Germain l'Auxerrois, 187.
+
+  St. Gratien, 125.
+
+  St. Luc, Marquis, 255.
+
+  St. M�grin, 122.
+
+  St. Michel, 130.
+
+  St. Vincent de Paul, 224.
+
+  St. Victor, 130.
+
+  St. Waast, Abbey of, 324.
+
+  Stendhal, 155.
+
+  Sterne, 322.
+
+  Stevenson, R. L., 41, 44.
+
+  Strasbourg (monument), 138, 162.
+
+  Strasbourg, 157.
+
+  "Stryge, The," 127.
+
+  Stuart, Mary, 323.
+
+  Sue, Eug�ne, 69, 99, 363.
+
+  Switzerland, 8, 370.
+
+  "Sword of the Brave Chevalier," 251.
+
+  Sylla, 17.
+
+  Sylvestre's, 272.
+
+
+  Taglioni, Marie, 116, 117.
+
+  Talleyrand, Henri de, 214.
+
+  Talma, 17, 82, 121, 191.
+
+  Tarascon, 349.
+
+  Tastu, Mme. Amable, 70.
+
+  Thackeray, 44.
+
+  Thames, 168.
+
+  Th��tre de la Nation, 183.
+
+  Th��tre du Palais Royal, 77, 268.
+
+  Th��tre Fran�aise, 16, 17, 121, 167, 183, 187.
+
+  "Th��tre Historique," 44.
+
+  Th��tre Italien, 133.
+
+  Theadlon, 18.
+
+  Th�aulon, 31.
+
+  "The Conspirators," see Works of Dumas.
+
+  "The Queen's Necklace," (Le Collier de la Reine), see Works of Dumas.
+
+  "The Regent's Daughter," see Works of Dumas.
+
+  "The Sorbonne," 244.
+
+  "The Taking of the Bastille," see Works of Dumas.
+
+  "The Wandering Jew," 99.
+
+  "The Wolf-Leader," see Works of Dumas.
+
+  Thierry, Edouard, 155, 165.
+
+  Thiers, 69, 95.
+
+  "Third Republic," 193.
+
+  Titian, 191.
+
+  Title of Dumas, 45, 57, 58.
+
+  Touchet, Marie, 215, 217.
+
+  Toul, 160.
+
+  Toulon, 90, 91, 233, 326, 349, 351.
+
+  Toulouse, 159.
+
+  "Tour de Jean-sans-Peur," 214.
+
+  Tour de Nesle, 237.
+
+  Tour de St. Jacques la Boucherie, 197.
+
+  Tour du Bois, 131.
+
+  Tour Eiffel, 303, 314.
+
+  Tours, 332.
+
+  Tour St. Jacques, 140, 167, 187, 263.
+
+  Tower of London, 185.
+
+  "Travels," see Works of Dumas.
+
+  Travels of Dumas, 8, 44-46, 336, 337, 361, 364, 370, 371.
+
+  "Treasure Island," 42.
+
+  Treville, De, 49, 246, 251.
+
+  Trianon, The, 303.
+
+  Trocadero, 147.
+
+  Trouville, 325, 327, 371.
+
+  Tuileries, The, 72, 133, 137, 138, 150, 170, 176, 182, 184, 185, 261,
+      265.
+
+  Turenne, 90, 143, 224.
+
+
+  Universit�, The, 167, 244.
+
+
+  Val-de-Grace, The, 134.
+
+  Valenciennes, 49.
+
+  Valois, House of, 12, 34, 38, 195, 318.
+
+  Valois, Marguerite de, 197, 287, 351, 354.
+
+  Valois Romances, 15, 44, 46, 148, 171, 195, 205, 215, 225, 235, 239,
+      254, 258, 259, 263, 266, 278, 312, 314, 354, 355.
+
+  Vandam, Albert, 6, 56, 76, 77, 94, 95, 116, 118.
+
+  Van Dyke, 191.
+
+  Vatel, 199.
+
+  Vermandois, Count of, 289.
+
+  Vernet, 191.
+
+  Vernon, 165, 169.
+
+  V�ron, Doctor, 79, 111, 116, 117.
+
+  Versailles, 297, 298, 302-306.
+
+  Vesinet, 311.
+
+  "Vicomte de Bragelonne," see Works of Dumas.
+
+  Vidocq, 234.
+
+  Viennet, 18.
+
+  Vieux Ch�teau, 311, 312, 313, 314.
+
+  Vigny, De, 68.
+
+  Villefort, De, 261, 340.
+
+  Villemessant, De, 52.
+
+  Villers-Cotterets, 7, 14, 15, 18, 24, 25, 27, 33, 34, 46, 80, 315, 317,
+      318, 321.
+
+  Vincennes, 179, 315.
+
+  Vincennes, Ch�teau of, 298, 320.
+
+  Vincennes, Fort of, 320.
+
+  "Vingt Ans Apr�s" ("Twenty Years After"), see Works of Dumas.
+
+  Viollet-le-Duc, 144, 325.
+
+  Vivi�res, 24.
+
+  Voltaire, 121, 122, 238, 288, 303.
+
+  Volterre, Ricciarelli de, 224.
+
+
+  Wardes, De, 322.
+
+  Warsaw, 76.
+
+  Waterloo, 25.
+
+  William III., 361.
+
+  William the Conqueror, 326.
+
+  Windt, Cornelius de, 361.
+
+  Windt, Jacobus de, 361.
+
+  Windsor, 154.
+
+  Winter, Lady de, 223.
+
+  Works of Dumas:
+    "Ange Pitou," 36.
+    "Antony," 29, 37.
+    "Black Tulip" ("La Tulipe Noire"), 38, 44, 360-362, 365.
+    "Capitaine Pamphile," 89, 221, 231, 360.
+    "Capitaine Paul" ("Paul Jones"), 38, 350.
+    "Causeries," 36, 103.
+    "Cherubino et Celestine," 367.
+    "Chevalier d'Harmental," 228.
+    "Chicot the Jester" ("La Dame de Monsoreau"), 29, 37, 38, 40, 207,
+        253, 255, 301, 319, 329, 332, 333.
+    "Comtesse de Charny," 223, 226, 229, 302, 303.
+    "Corsican Brothers," 89, 213, 231, 319, 360.
+    "Count of Monte Cristo," 29, 38-41, 44, 109, 218, 229, 261, 327, 328,
+        339, 340, 342, 343, 347, 355, 358, 361, 368, 369.
+    "Crimes C�l�bres" ("Celebrated Crimes"), 285, 286, 323, 350, 372.
+    "Dictionnaire de Cuisine," 63.
+    "Dix-huit Mois � St. Petersburgh," 364.
+    "Forty-Five Guardsmen," 201, 248, 351, 365.
+    "Gabriel Lambert," 89, 91, 231, 232, 350.
+    "Georges," 46.
+    "Henri III. et Sa Cour," 29, 121, 123.
+    "Impressions du Voyage," 36, 325, 364, 370.
+    "Jeanne d'Arc," 38.
+    "Kean," 29.
+    "La Tour de Nesle," 237.
+    "Les P�cheurs du Filet," 368.
+    "Les Trois Mousquetaires" ("The Three Musketeers"), 29, 38-41, 44, 48,
+        54, 75, 126, 127, 245, 247, 251, 252, 332, 361.
+    "Ma�tre Adam le Calabrais," 367.
+    "Marguerite de Valois," 173, 175, 198, 210, 212, 215, 221, 236, 257,
+        307, 310, 311, 320.
+    "M�moires," 14, 15, 17, 23, 25, 29, 32, 34, 36, 44, 70, 93, 104, 174,
+        228, 325, 367.
+    "M�moires d'un Ma�tre d'Armes," 75, 364.
+    "Mes B�tes," 36, 45.
+    "Murat," 367.
+    "Pascal Bruno," 367.
+    "Pauline," 171, 180, 231, 325, 367, 370, 371.
+    "The Conspirators," 173, 271, 287.
+    "The Queen's Necklace," ("Le Collier de la Reine"), 105, 118, 204,
+        228, 241, 254, 255, 275, 295, 303, 306.
+    "The Regent's Daughter," 292, 316, 334-336.
+    "The Taking of the Bastille," 18, 24, 46, 175, 225, 250, 279, 288,
+        303, 317.
+    "The Wolf-Leader," 33, 46.
+    "Vicomte de Bragelonne," 24, 29, 38, 169, 199, 200, 205, 247, 259,
+        273, 288, 292, 298, 300, 321, 328, 330, 332.
+    "Vingt Ans Apr�s" ("Twenty Years After"), 29, 214, 225, 245-247, 303,
+        310, 324.
+
+
+  Zola, 7, 44, 64, 129, 188.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Punctuation has been corrected without note.
+
+The following misprints have been corrected:
+  "Sordonne" corrected to "Sorbonne" (page 10)
+  "be" corrected to "he" (page 330)
+
+Other than the corrections listed above, inconsistencies in spelling and
+hyphenation have been retained from the original.
+
+Errors in quotations, place names, and French passages have been retained
+from the original.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Dumas' Paris, by Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK DUMAS' PARIS ***
+
+***** This file should be named 35125-8.txt or 35125-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/1/2/35125/
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/35125-8.zip b/35125-8.zip
new file mode 100644
index 0000000..c22fdda
--- /dev/null
+++ b/35125-8.zip
diff --git a/35125-h.zip b/35125-h.zip
new file mode 100644
index 0000000..471a15f
--- /dev/null
+++ b/35125-h.zip
diff --git a/35125-h/35125-h.htm b/35125-h/35125-h.htm
new file mode 100644
index 0000000..2ac236d
--- /dev/null
+++ b/35125-h/35125-h.htm
@@ -0,0 +1,12028 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Dumas' Paris, by Francis Miltoun.
+    </title>
+
+    <style type="text/css">
+
+    p {margin-top: .75em; text-align: justify; margin-bottom: .75em;}
+
+    body {margin-left: 12%; margin-right: 12%;}
+
+    .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;}
+
+    h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;}
+
+    hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;}
+
+    table {margin-left: auto; margin-right: auto;}
+    .btlr {border-top: solid black 1px; border-right: solid black 1px; border-left: solid black 1px; padding-left: 0.5em; padding-right: 0.5em;}
+    .bblr {border-bottom: solid black 1px; border-right: solid black 1px; border-left: solid black 1px; padding-left: 0.5em; padding-right: 0.5em;}
+    .blr {border-left: solid black 1px; border-right: solid black 1px; padding-left: 0.5em; padding-right: 0.5em;}
+	.botbor {border-bottom: solid black 1px;}
+
+    .huge {font-size: 200%}
+    .large {font-size: 150%}
+
+    .blockquot {margin-left: 5%; margin-right: 10%;}
+    .poem {margin-left:15%;}
+    .note {margin-left: 20%; margin-right: 20%;}
+    .index {margin-left: 20%;}
+
+    .right {text-align: right;}
+    .center {text-align: center;}
+
+    .smcap {font-variant: small-caps;}
+    .smcaplc {text-transform: lowercase; font-variant: small-caps;}
+
+    .figcenter {margin: auto; text-align: center;}
+
+    .bbox {border: solid 2px; color: gray; margin: auto; text-align: center;}
+
+    p.dropcap:first-letter{float: left; padding-right: 3px; font-size: 250%; line-height: 83%; width:auto;}
+    .caps {text-transform:uppercase;}
+
+    a:link {color:#0000ff; text-decoration:none}
+    a:visited {color:#6633cc; text-decoration:none}
+
+    .spacer {padding-left: 1em; padding-right: 1em;}
+    .spacer2 {padding-left: .3em; padding-right: .3em;}
+    .spacer3 {padding-left: .1em; padding-right: .1em;}
+
+    ins.correction {text-decoration:none; border-bottom: thin solid gray;}
+
+	.border {border-style: solid; border-width: 2px; margin: auto; padding: 1em; width: auto;}
+
+	.sign {border-style: solid; border-width: 1px; margin: auto; padding: .5em; width: 12em;}
+
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Dumas' Paris, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Dumas' Paris
+
+Author: Francis Miltoun
+
+Release Date: January 31, 2011 [EBook #35125]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DUMAS' PARIS ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/cover.jpg" alt="" /></div>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p class="center"><span class="huge">Dumas&#8217; Paris</span></p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<table class="border" border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td colspan="3" align="center"><strong><i>UNIFORM VOLUMES</i></strong></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td><strong>Dickens&#8217; London</strong></td></tr>
+<tr><td colspan="2" align="center"><span class="smcap">By Francis Miltoun</span></td></tr>
+<tr><td>Library 12mo, cloth, gilt top</td><td>&nbsp;</td><td align="right">$2.00</td></tr>
+<tr><td>The Same, &#190; levant morocco</td><td>&nbsp;</td><td align="right">5.00</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td><strong>Milton&#8217;s England</strong></td></tr>
+<tr><td colspan="2" align="center"><span class="smcap">By Lucia Ames Mead</span></td></tr>
+<tr><td>Library 12mo, cloth, gilt top</td><td>&nbsp;</td><td align="right">2.00</td></tr>
+<tr><td>The Same, &#190; levant morocco</td><td>&nbsp;</td><td align="right">5.00</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td><strong>Dumas&#8217; Paris</strong></td></tr>
+<tr><td colspan="2" align="center"><span class="smcap">By Francis Miltoun</span></td></tr>
+<tr><td>Library 12mo, cloth, gilt top</td><td align="right"><i>net</i></td><td align="right">1.60</td></tr>
+<tr><td>&nbsp;</td><td align="right"><i>postpaid</i></td><td align="right">1.75</td></tr>
+<tr><td>The Same, &#190; levant morocco</td><td align="right"><i>net</i></td><td align="right">4.00</td></tr>
+<tr><td>&nbsp;</td><td align="right"><i>postpaid</i></td><td align="right">4.15</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center">L. C. PAGE &amp; COMPANY<br />New England Building<br />Boston, Mass.</td></tr></table>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p>&nbsp;</p><p><a name="front" id="front"></a>&nbsp;</p>
+<div class="figcenter"><img src="images/frontis.jpg" alt="" /></div>
+<p class="center"><i>Alexandre Dumas</i></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p class="center"><span class="huge">Dumas&#8217; Paris</span></p>
+<p>&nbsp;</p>
+<p class="center">By</p>
+<p class="center"><span class="large">Francis Miltoun</span><br />
+Author of &#8220;Dickens&#8217; London,&#8221; &#8220;Cathedrals of Southern<br />
+France,&#8221; &#8220;Cathedrals of Northern France,&#8221; etc.</p>
+<p>&nbsp;</p>
+<p class="center">With two Maps and many Illustrations</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/printer.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center">Boston<br />L. C. Page &amp; Company<br />MDCCCCV</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p class="center"><i>Copyright, 1904</i><br />
+<span class="smcap">By L. C. Page &amp; Company</span><br />
+(INCORPORATED)</p>
+<p class="center"><i>All rights reserved</i></p>
+<p class="center"><br />Published November, 1904</p>
+<p class="center"><br /><i>COLONIAL PRESS<br />Electrotyped and Printed by C. H. Simonds &amp; Co.<br />Boston, Mass., U.S.A.</i></p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>Contents</h2>
+
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><small>CHAPTER</small></td><td>&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td align="right"><a href="#CHAPTER_I">I.</a></td><td><span class="smcap">A General Introduction</span></td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_II">II.</a></td><td><span class="smcap">Dumas&#8217; Early Life in Paris</span></td><td align="right"><a href="#Page_14">14</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_III">III.</a></td><td><span class="smcap">Dumas&#8217; Literary Career</span></td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_IV">IV.</a></td><td><span class="smcap">Dumas&#8217; Contemporaries</span></td><td align="right"><a href="#Page_68">68</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_V">V.</a></td><td><span class="smcap">The Paris of Dumas</span></td><td align="right"><a href="#Page_83">83</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_VI">VI.</a></td><td><span class="smcap">Old Paris</span></td><td align="right"><a href="#Page_126">126</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_VII">VII.</a></td><td><span class="smcap">Ways and Means of Communication</span></td><td align="right"><a href="#Page_147">147</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_VIII">VIII.</a></td><td><span class="smcap">The Banks of the Seine</span></td><td align="right"><a href="#Page_165">165</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_IX">IX.</a></td><td><span class="smcap">The Second Empire and After</span></td><td align="right"><a href="#Page_178">178</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_X">X.</a></td><td><span class="smcap">La Ville</span></td><td align="right"><a href="#Page_195">195</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XI">XI.</a></td><td><span class="smcap">La Cit&eacute;</span></td><td align="right"><a href="#Page_235">235</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XII">XII.</a></td><td><span class="smcap">L&#8217;Universit&eacute; Quartier</span></td><td align="right"><a href="#Page_244">244</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XIII">XIII.</a></td><td><span class="smcap">The Louvre</span></td><td align="right"><a href="#Page_257">257</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XIV">XIV.</a></td><td><span class="smcap">The Palais Royal</span></td><td align="right"><a href="#Page_266">266</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XV">XV.</a></td><td><span class="smcap">The Bastille</span></td><td align="right"><a href="#Page_278">278</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XVI">XVI.</a></td><td><span class="smcap">The Royal Parks and Palaces</span></td><td align="right"><a href="#Page_297">297</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XVII">XVII.</a></td><td><span class="smcap">The French Provinces</span></td><td align="right"><a href="#Page_321">321</a></td></tr>
+<tr><td align="right"><a href="#CHAPTER_XVIII">XVIII.</a></td><td><span class="smcap">Les Pays &Eacute;trangers</span></td><td align="right"><a href="#Page_360"><ins class="correction" title="original: 359">360</ins></a></td></tr>
+<tr><td>&nbsp;</td><td><span class="smcap">Appendices</span></td><td align="right"><a href="#Page_373">373</a></td></tr>
+<tr><td>&nbsp;</td><td><span class="smcap">Index</span></td><td align="right"><a href="#Page_377">377</a></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2>List of Illustrations</h2>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td><span class="smcap">Alexandre Dumas</span></td><td align="right"><a href="#front"><i>Frontispiece</i></a></td></tr>
+<tr><td><span class="smcap">Dumas&#8217; House at Villers-Cotterets</span></td><td align="right"><a href="#Page_6">7</a></td></tr>
+<tr><td><span class="smcap">Statue of Dumas at Villers-Cotterets</span></td><td align="right"><a href="#Page_14">14</a></td></tr>
+<tr><td><span class="smcap">Facsimile of Dumas&#8217; Own Statement of His Birth</span></td><td align="right"><a href="#Page_26">26</a></td></tr>
+<tr><td><span class="smcap">Facsimile of a Manuscript Page from One of Dumas&#8217; Plays</span></td><td align="right"><a href="#Page_36">37</a></td></tr>
+<tr><td><span class="smcap">D&#8217;Artagnan</span></td><td align="right"><a href="#Page_49">48</a></td></tr>
+<tr><td><span class="smcap">Alexandre Dumas</span>, <i>Fils</i></td><td align="right"><a href="#Page_65">64</a></td></tr>
+<tr><td><span class="smcap">Two Famous Caricatures of Alexandre Dumas</span></td><td align="right"><a href="#Page_69">68</a></td></tr>
+<tr><td><span class="smcap">Tomb of Abelard and H&eacute;lo&iuml;se</span></td><td align="right"><a href="#Page_82">82</a></td></tr>
+<tr><td><span class="smcap">General Foy&#8217;s Residence</span></td><td align="right"><a href="#Page_85">84</a></td></tr>
+<tr><td><span class="smcap">D&#8217;Artagnan, from the Dumas Statue by Gustave Dor&eacute;</span></td><td align="right"><a href="#Page_123">123</a></td></tr>
+<tr><td><span class="smcap">Pont Neuf&mdash;Pont au Change</span></td><td align="right"><a href="#Page_135">135</a></td></tr>
+<tr><td><span class="smcap">Portrait of Henry IV.</span></td><td align="right"><a href="#Page_142">143</a></td></tr>
+<tr><td><span class="smcap">Grand Bureau de la Poste</span></td><td align="right"><a href="#Page_155">154</a></td></tr>
+<tr><td><span class="smcap">The Od&eacute;on in 1818</span></td><td align="right"><a href="#Page_166">167</a></td></tr>
+<tr><td><span class="smcap">Palais Royal, Street Front</span></td><td align="right"><a href="#Page_183">183</a></td></tr>
+<tr><td><span class="smcap">77 Rue d&#8217;Amsterdam&mdash;Rue de St. Denis</span></td><td align="right"><a href="#Page_188">188</a></td></tr>
+<tr><td><span class="smcap">Place de la Gr&egrave;ve</span></td><td align="right"><a href="#Page_197">197</a></td></tr>
+<tr><td><span class="smcap">Tour de St. Jacques la Boucherie (M&eacute;ryon&#8217;s Etching, &#8220;Le Stryge&#8221;)</span></td><td align="right"><a href="#Page_199">198</a></td></tr>
+<tr><td><span class="smcap">H&ocirc;tel des Mousquetaires, Rue d&#8217;Arbre Sec</span></td><td align="right"><a href="#Page_207">207</a></td></tr>
+<tr><td><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span><span class="smcap">D&#8217;Artagnan&#8217;s Lodgings, Rue Tiquetonne</span></td><td align="right"><a href="#Page_214">214</a></td></tr>
+<tr><td><span class="smcap">109 Rue du Faubourg St. Denis (D&eacute;scamps&#8217; Studio)</span></td><td align="right"><a href="#Page_221">221</a></td></tr>
+<tr><td><span class="smcap">N&ocirc;tre Dame de Paris</span></td><td align="right"><a href="#Page_234">235</a></td></tr>
+<tr><td><span class="smcap">Plan of La Cit&eacute;</span></td><td align="right"><a href="#Page_237">236</a></td></tr>
+<tr><td><span class="smcap">Carmelite Friary, Rue Vaugirard</span></td><td align="right"><a href="#Page_247">246</a></td></tr>
+<tr><td><span class="smcap">Plan of the Louvre</span></td><td align="right"><a href="#Page_256">257</a></td></tr>
+<tr><td><span class="smcap">The Gardens of the Tuileries</span></td><td align="right"><a href="#Page_265">265</a></td></tr>
+<tr><td><span class="smcap">The Orleans Bureau, Palais Royal</span></td><td align="right"><a href="#Page_268">268</a></td></tr>
+<tr><td><span class="smcap">The Fall of the Bastille</span></td><td align="right"><a href="#Page_284">284</a></td></tr>
+<tr><td><span class="smcap">Inn of the Pont de S&egrave;vres</span></td><td align="right"><a href="#Page_303">302</a></td></tr>
+<tr><td><span class="smcap">Bois de Boulogne&mdash;Bois de Vincennes&mdash;For&ecirc;t de Villers-Cotterets</span></td><td align="right"><a href="#Page_315">315</a></td></tr>
+<tr><td><span class="smcap">Ch&acirc;teau of the Ducs de Valois, Cr&eacute;py</span></td><td align="right"><a href="#Page_318">318</a></td></tr>
+<tr><td><span class="smcap">Castle of Pierrefonds</span></td><td align="right"><a href="#Page_325">324</a></td></tr>
+<tr><td><span class="smcap">N&ocirc;tre Dame de Chartres</span></td><td align="right"><a href="#Page_328">329</a></td></tr>
+<tr><td><span class="smcap">Castle of Angers&mdash;Ch&acirc;teau of Blois</span></td><td align="right"><a href="#Page_332">333</a></td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h1>Dumas&#8217; Paris</h1>
+<p>&nbsp;</p><p>&nbsp;</p>
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+<h3>A GENERAL INTRODUCTION</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">There</span> have been many erudite works, in French and other languages,
+describing the antiquities and historical annals of Paris from the
+earliest times; and in English the mid-Victorian era turned out&mdash;there are
+no other words for it&mdash;innumerable &#8220;books of travel&#8221; which recounted
+alleged adventures, strewn here and there with bits of historical lore and
+anecdotes, none too relevant, and in most cases not of undoubted
+authenticity.</p>
+
+<p>Of the actual life of the people in the city of light and learning, from
+the times of Napoleon onward, one has to go to the fountainhead of written
+records, the acknowledged masterworks in the<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> language of the country
+itself, the reports and <i>annuaires</i> of various <i>soci&eacute;t&ecirc;s</i>, <i>commissions</i>,
+and what not, and collect therefrom such information as he finds may suit
+his purpose.</p>
+
+<p>In this manner may be built up a fabric which shall be authentic and
+proper, varied and, most likely, quite different in its plan, outline, and
+scope from other works of a similar purport, which may be recalled in
+connection therewith.</p>
+
+<p>Paris has been rich in topographical historians, and, indeed, in her
+chroniclers in all departments, and there is no end of relative matter
+which may be evolved from an intimacy with these sources of supply. In a
+way, however, this information ought to be supplemented by a personal
+knowledge on the part of the compiler, which should make localities,
+distances, and environments&mdash;to say nothing of the actual facts and dates
+of history&mdash;appear as something more than a shrine to be worshipped from
+afar.</p>
+
+<p>Given, then, these ingredients, with a love of the subject,&mdash;no less than
+of the city of its domicile,&mdash;it has formed a pleasant itinerary in the
+experiences of the writer of this book to have followed in the footsteps
+of Dumas <i>p&egrave;re</i>, through the streets that he knew and loved, taking note
+meanwhile of such contemporary shadows as were thrown<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> across his path,
+and such events of importance or significance as blended in with the
+scheme of the literary life of the times in which he lived, none the less
+than of those of the characters in his books.</p>
+
+<p>Nearly all the great artists have adored Paris&mdash;poets, painters, actors,
+and, above all, novelists.</p>
+
+<p>From which it follows that Paris is the ideal city for the novelist, who,
+whether he finds his special subjects in her streets or not, must be
+inspired by this unique fulness and variety of human life. Nearly all the
+great French novelists have adored Paris. Dumas loved it; Victor Hugo
+spent years of his time in riding about her streets on omnibuses; Daudet
+said splendid things of it, and nearly, if not quite, all the great names
+of the artistic world of France are indissolubly linked with it.</p>
+
+<p>Paris to-day means not &#8220;La Ville,&#8221; &#8220;La Cit&eacute;,&#8221; or &#8220;L&#8217;Universit&eacute;,&#8221; but the
+whole triumvirate. Victor Hugo very happily compared the three cities to a
+little old woman between two handsome, strapping daughters.</p>
+
+<p>It was Beranger who announced his predilection for Paris as a birthplace.
+Dumas must have felt something of the same emotion, for he early
+gravitated to the &#8220;City of Liberty and Equality,&#8221; in<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> which&mdash;even before
+the great Revolution&mdash;misfortune was at all times alleviated by sympathy.</p>
+
+<hr style="width: 25%;" />
+
+<p>From the stones of Paris have been built up many a lordly volume&mdash;and many
+a slight one, for that matter&mdash;which might naturally be presumed to have
+recounted the last word which may justifiably have been said concerning
+the various aspects of the life and historic events which have encircled
+around the city since the beginning of the <i>moyen age</i>.</p>
+
+<p>This is true or not, according as one embraces a wide or a contracted
+horizon in one&#8217;s view.</p>
+
+<p>For most books there is, or was at the time of their writing, a reason for
+being, and so with familiar spots, as with well-worn roads, there is
+always a new panorama projecting itself before one.</p>
+
+<p>The phenomenal, perennial, and still growing interest in the romances of
+Dumas the elder is the excuse for the present work, which it is to be
+hoped is admittedly a good one, however far short of exhaustiveness&mdash;a
+much overworked word, by the way&mdash;the volume may fall.</p>
+
+<p>It were not possible to produce a complete or &#8220;exhaustive&#8221; work on any
+subject of a historical, topographical or &aelig;sthetic nature: so why claim
+it?<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> The last word has not yet been said on Dumas himself, and surely not
+on Paris&mdash;no more has it on Pompeii, where they are still finding
+evidences of a long lost civilization as great as any previously
+unearthed.</p>
+
+<p>It was only yesterday, too (this is written in the month of March, 1904),
+that a party of frock-coated and silk-hatted benevolent-looking gentlemen
+were seen issuing from a manhole in the <i>Universit&eacute; quartier</i> of Paris.
+They had been inspecting a newly discovered <i>thermale &eacute;tablissement</i> of
+Roman times, which led off one of the newly opened subterranean arteries
+which abound beneath Paris.</p>
+
+<p>It is said to be a rival of the Roman bath which is enclosed within the
+walls of the present Mus&eacute;e Cluny, and perhaps the equal in size and
+splendour of any similar remains extant.</p>
+
+<p>This, then, suggests that in every land new ground, new view-points, and
+new conditions of life are making possible a record which, to have its
+utmost value, should be a progressively chronological one.</p>
+
+<p>And after this manner the present volume has been written. There is a fund
+of material to draw upon, historic fact, pertinent and contemporary
+side-lights, and, above all, the environment which haloed itself around
+the personality of Dumas,<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> which lies buried in many a <i>cache</i> which, if
+not actually inaccessible, is at least not to be found in the usual books
+of reference.</p>
+
+<p>Perhaps some day even more will have been collected, and a truly
+satisfying biographical work compiled. If so, it will be the work of some
+ardent Frenchman of a generation following that in which Alexandre Dumas
+lived, and not by one of the contemporaries of even his later years.
+Albert Vandam, perhaps, might have done it as it should have been done;
+but he did not do so, and so an intimate personal record has been lost.</p>
+
+<p>Paris has ever been written down in the book of man as the city of light,
+of gaiety, and of a trembling vivacity which has been in turn profligate,
+riotous, and finally criminal.</p>
+
+<p>All this is perhaps true enough, but no more in degree than in most
+capitals which have endured so long, and have risen to such greatness.</p>
+
+<p>With Paris it is quantity, with no sacrifice of quality, that has placed
+it in so pre&euml;minent a position among great cities, and the life of
+Paris&mdash;using the phrase in its most commonly recognized aspect&mdash;is
+accordingly more brilliant or the reverse, as one views it from the
+<i>boulevards</i> or from the <i>villettes</i>.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 337px; height: 500px;"><img src="images/fp_6.jpg" alt="" /></div>
+<p class="center">DUMAS&#8217; HOUSE AT VILLERS-COTTERETS</p>
+<p>&nbsp;</p>
+
+<p>French writers, the novelists in particular, have <span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>well known and made
+use of this; painters and poets, too, have perpetuated it in a manner
+which has not been applied to any other city in the world.</p>
+
+<p>To realize the conditions of the life of Paris to the full one has to go
+back to Rousseau&mdash;perhaps even farther. His observation that &#8220;<i>Les maisons
+font la ville, mais le citoyens font la cit&eacute;</i>,&#8221; was true when written, and
+it is true to-day, with this modification, that the delimitation of the
+confines of <i>la ville</i> should be extended so far as to include all
+workaday Paris&mdash;the shuffling, bustling world of energy and spirit which
+has ever insinuated itself into the daily life of the people.</p>
+
+<p>The love and knowledge of Alexandre Dumas <i>p&egrave;re</i> for Paris was great, and
+the accessory and detail of his novels, so far as he drew upon the
+capital, was more correct and apropos. It was something more than a mere
+dash of local colour scattered upon the canvas from a haphazard palette.
+In <i>minuti&aelig;</i> it was not drawn as fine as the later Zola was wont to
+accomplish, but it showed no less detail did one but comprehend its full
+meaning.</p>
+
+<p>Though born in the provincial town Villers-Cotterets,&mdash;seventy-eight
+kilom&egrave;tres from Paris on the road to Soissons,&mdash;Dumas came early in touch
+with the metropolis, having in a sort of runaway<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> journey broken loose
+from his old associations and finally becoming settled in the capital as a
+clerk in the Bureau d&#8217;Orleans, at the immature age of twenty. Thus it was
+that his impressions and knowledge of Paris were founded upon an
+experience which was prolonged and intimate, extending, with brief
+intervals of travel, for over fifty years.</p>
+
+<p>He had journeyed meantime to Switzerland, England, Corsica, Naples, the
+Rhine, Belgium,&mdash;with a brief residence in Italy in 1840-42,&mdash;then
+visiting Spain, Russia, the Caucasus, and Germany.</p>
+
+<p>This covered a period from 1822, when he first came to Paris, until his
+death at Puys, near Dieppe, in 1870; nearly a full half-century amid
+activities in matters literary, artistic, and social, which were scarce
+equalled in brilliancy elsewhere&mdash;before or since.</p>
+
+<p>In spite of his intimate association with the affairs of the capital,&mdash;he
+became, it is recalled, a candidate for the Chamber of Deputies at the
+time of the Second Republic,&mdash;Dumas himself has recorded, in a preface
+contributed to a &#8220;Histoire de l&#8217;Eure,&#8221; by M. Charpillon (1879), that if he
+were ever to compile a history of France he should first search for <i>les
+pierres angulaires</i> of his edifice in the provinces.</p>
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>This bespeaks a catholicity which, perhaps, after all, is, or should be,
+the birthright of every historical novelist.</p>
+
+<p>He said further, in this really valuable and interesting contribution,
+which seems to have been entirely overlooked by the bibliographers, that
+&#8220;to write the history of France would take a hundred volumes&#8221;&mdash;and no
+doubt he was right, though it has been attempted in less.</p>
+
+<p>And again that &#8220;the aggrandizement of Paris has only been accomplished by
+a weakening process having been undergone by the provinces.&#8221; The egg from
+which Paris grew was deposited in the nest of <i>la cit&eacute;</i>, the same as are
+the eggs laid <i>par un cygne</i>.</p>
+
+<p>He says further that in writing the history of Paris he would have founded
+on &#8220;Lutetia (or Louchetia) the <i>Villa de Jules</i>, and would erect in the
+Place de Notre Dame a temple or altar to Ceres; at which epoch would have
+been erected another to Mercury, on the Mount of Ste. Genevi&egrave;ve; to Apollo
+in the Rue de la Barillerie, where to-day is erected that part of
+Tuileries built by Louis XIV., and which is called <i>Le Pavillon de Flore</i>.</p>
+
+<p>&#8220;Then one would naturally follow with <i>Les Thermes de Julien</i>, which grew
+up from the <i>Villa<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> de Jules</i>; the reunion under Charlemagne which
+accomplished the <ins class="correction" title="original: Sordonne">Sorbonne</ins> (<i>Sora bona</i>), which in turn became the
+favourite place of residence of Hugues Capet, the stronghold of
+Philippe-Auguste, the <i>biblioth&egrave;que</i> of Charles V., the monumental capital
+of Henri VI. d&#8217;Angleterre; and so on through the founding of the first
+printing establishment in France by Louis XI.; the new school of painting
+by Fran&ccedil;ois I.; of the Acad&eacute;mie by Richelieu; ... to the final curtailment
+of monarchial power with the horrors of the Revolution and the significant
+events which centred around the Bastille, Versailles, and the Tuileries.&#8221;</p>
+
+<p>Leaving the events of the latter years of the eighteenth century, and
+coming to the day in which Dumas wrote (1867), Paris was truly&mdash;and in
+every sense&mdash;</p>
+
+<p>&#8220;The capital of France, and its history became not only the history of
+France but the history of the world.... The city will yet become the
+capital of humanity, and, since Napoleon repudiated his provincial
+residences and made Paris <i>sa r&eacute;sidence imp&eacute;riale</i>, the man of destiny who
+reigns in Paris in reality reigns throughout the universe.&#8221;</p>
+
+<p>There may be those who will take exception to these brilliant words of
+Dumas. The Frenchman has always been an ardent and <i>soi-disant</i> bundle of<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+enthusiasm, but those who love him must pardon his pride, which is
+harmless to himself and others alike, and is a far more admirable quality
+than the indifference and apathy born of other lands.</p>
+
+<p>His closing words are not without a cynical truth, and withal a pride in
+Paris:</p>
+
+<p>&#8220;It is true that if we can say with pride, we Parisians, &#8216;It was Paris
+which overthrew the Bastille,&#8217; you of the provinces can say with equal
+pride, &#8216;It was we who made the Revolution.&#8217;&#8221;</p>
+
+<p>As if to ease the hurt, he wrote further these two lines only:</p>
+
+<p>&#8220;At this epoch the sister nations should erect a gigantic statue of Peace.
+This statue will be Paris, and its pedestal will represent <i>La Province</i>.&#8221;</p>
+
+<p>His wish&mdash;it was not prophecy&mdash;did not, however, come true, as the world
+in general and France and poor rent Alsace et Lorraine in particular know
+to their sorrow; and all through a whim of a self-appointed, though
+weakling, monarch.</p>
+
+<p>The era of the true peace of the world and the monument to its glory came
+when the French nation presented to the New World that grand work of
+Bartholdi, &#8220;Liberty Enlightening the World,&#8221; which stands in New York
+harbour, and whose smaller replica now terminates the All&eacute;e des Cygnes.</p>
+
+<p>The grasp that Dumas had of the events of <span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>romance and history served his
+purpose well, and in the life of the fifties in Paris his was a name and
+personality that was on everybody&#8217;s lips.</p>
+
+<p>How he found time to live the full life that he did is a marvel; it
+certainly does not bear out the theory of heredity when one considers the
+race of his birth and the &#8220;dark-skinned&#8221; languor which was supposedly his
+heritage.</p>
+
+<p>One edition of his work comprises two hundred and seventy-seven volumes,
+and within the year a London publisher has announced some sixty volumes
+&#8220;never before translated.&#8221; Dumas himself has said that he was the author
+of over seven hundred works.</p>
+
+<p>In point of time his romances go back to the days of the house of Valois
+and the Anglo-French wars (1328), and to recount their contents is to
+abstract many splendid chapters from out the pages of French history.</p>
+
+<p>It would seem as though nearly every personage of royalty and celebrity
+(if these democratic times will allow the yoking together of the two; real
+genuine <i>red</i> republicans would probably link royalty and notoriety)
+stalked majestically through his pages, and the record runs from the
+fourteenth nearly to the end of the nineteenth century, with the exception
+of the reign of Louis XI.</p>
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>An ardent admirer of Sir Walter Scott has commented upon this lapse as
+being accounted for by the apparent futility of attempting to improve upon
+&#8220;Quentin Durward.&#8221; This is interesting, significant, and characteristic,
+but it is not charitable, generous, or broad-minded.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+<h3>DUMAS&#8217; EARLY LIFE IN PARIS</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">At</span> fifteen (1817), Dumas entered the law-office of one Mennesson at
+Villers-Cotterets as a <i>saute-ruisseau</i> (gutter-snipe), as he himself
+called it, and from this time on he was forced to forego what had been his
+passion heretofore: bird-catching, shooting, and all manner of woodcraft.</p>
+
+<p>When still living at Villers-Cotterets Dumas had made acquaintance with
+the art of the dramatist, so far as it was embodied in the person of
+Adolphe de Leuven, with whom he collaborated in certain immature
+melodramas and vaudevilles, which De Leuven himself took to Paris for
+disposal.</p>
+
+<p>&#8220;No doubt managers would welcome them with enthusiasm,&#8221; said Dumas, &#8220;and
+likely enough we shall divert a branch of that Pactolus River which is
+irrigating the domains of M. Scribe&#8221; (1822).</p>
+
+<p>Later on in his &#8220;M&eacute;moires&#8221; he says: &#8220;Complete humiliation; we were refused
+everywhere.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 279px; height: 500px;"><img src="images/fp_14.jpg" alt="" /></div>
+<p class="center">STATUE OF DUMAS AT VILLERS-COTTERETS</p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>From Villers-Cotterets the scene of Dumas&#8217; labours was transferred to
+Cr&eacute;py, three and a half leagues distant, a small town to which he made his
+way on foot, his belongings in a little bundle &#8220;<i>not more bulky than that
+of a Savoyard when he leaves his native mountains</i>.&#8221;</p>
+
+<p>In his new duties, still as a lawyer&#8217;s clerk, Dumas found life very
+wearisome, and, though the ancient capital of the Valois must have made an
+impress upon him,&mdash;as one learns from the Valois romances,&mdash;he pined for
+the somewhat more free life which he had previously lived; or, taking the
+bull by the horns, deliberated as to how he might get into the very vortex
+of things by pushing on to the capital.</p>
+
+<p>As he tritely says, &#8220;To arrive it was necessary to make a start,&#8221; and the
+problem was how to arrive in Paris from Cr&eacute;py in the existing condition of
+his finances.</p>
+
+<p>By dint of ingenuity and considerable activity Dumas left Cr&eacute;py in company
+with a friend on a sort of a runaway holiday, and made his third entrance
+into Paris.</p>
+
+<p>It would appear that Dumas&#8217; culinary and gastronomic capabilities early
+came into play, as we learn from the &#8220;M&eacute;moires&#8221; that, when he was not yet
+out of his teens, and serving in the notary&#8217;s<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> office at Cr&eacute;py, he
+proposed to his colleague that they take this three days&#8217; holiday in
+Paris.</p>
+
+<p>They could muster but thirty-five francs between them, so Dumas proposed
+that they should shoot game <i>en route</i>. Said Dumas, &#8220;We can kill, shall I
+say, one hare, two partridges, and a quail.... We reach Dammartin, get the
+hinder part of our hare roasted and the front part jugged, then we eat and
+drink.&#8221; &#8220;And what then?&#8221; said his friend. &#8220;What then? Bless you, why we
+pay for our wine, bread, and seasoning with the two partridges, and we tip
+the waiter with the quail.&#8221;</p>
+
+<p>The journey was accomplished in due order, and he and his friend put up at
+the H&ocirc;tel du Vieux-Augustins, reaching there at ten at night.</p>
+
+<p>In the morning he set out to find his collaborateur De Leuven, but the
+fascination of Paris was such that it nearly made him forswear regard for
+the flight of time.</p>
+
+<p>He says of the Palais Royale: &#8220;I found myself within its courtyard, and
+stopped before the Theatre Fran&ccedil;ais, and on the bill I saw:</p>
+
+<p class="center">&#8220;&#8216;Demain, Lundi<br />
+Sylla<br />
+Trag&eacute;die dans cinq Actes<br />
+Par M. de Jouy&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>&#8220;I solemnly swore that by some means or other ... I would see Sylla, and
+all the more so because, in large letters, under the above notice, were
+the words, &#8216;The character of Sylla will be taken by M. Talma.&#8217;&#8221;</p>
+
+<p>In his &#8220;M&eacute;moires&#8221; Dumas states that it was at this time he had the
+temerity to call on the great Talma. &#8220;Talma was short-sighted,&#8221; said he,
+&#8220;and was at his toilet; his hair was close cut, and his aspect under these
+conditions was remarkably un-poetic.... Talma was for me a god&mdash;a god
+unknown, it is true, as was Jupiter to Semele.&#8221;</p>
+
+<p>And here comes a most delicious bit of Dumas himself, Dumas the egotist:</p>
+
+<p>&#8220;Ah, Talma! were you but twenty years younger or I twenty years older! I
+know the past, you cannot foretell the future.... Had you known, Talma,
+that the hand you had just touched would ultimately write sixty or eighty
+dramas ... in each of which you would have found the material for a
+marvellous creation....&#8221;</p>
+
+<p>Dumas may be said to have at once entered the world of art and letters in
+this, his third visit to Paris, which took place so early in life, but in
+the years so ripe with ambition.</p>
+
+<p>Having seen the great Talma in Sylla, in his dressing-room at the Theatre
+Fran&ccedil;ais, he met<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> Delavigne, who was then just completing his &#8220;Ecole des
+Viellards,&#8221; Lucien Arnault, who had just brought out &#8220;Regulus;&#8221; Soumet,
+fresh from the double triumph of &#8220;Saul&#8221; and &#8220;Clymnestre;&#8221; here, too, were
+Lemercier, Delrien, Viennet, and Jouy himself; and he had met at the Caf&eacute;
+du Roi, Theadlon, Francis, Rochefort, and De Merle; indeed by his friend
+De Leuven he was introduced to the assemblage there as a &#8220;future
+Corneille,&#8221; in spite of the fact that he was but a notary&#8217;s clerk.</p>
+
+<p>Leaving what must have been to Dumas <i>the presence</i>, he shot a parting
+remark, &#8220;Ah, yes, I shall come to Paris for good, I warrant you that.&#8221;</p>
+
+<p>In &#8220;The Taking of the Bastille&#8221; Dumas traces again, in the characters of
+Pitou and old Father Billot, much of the route which he himself took on
+his first visit to Paris. The journey, then, is recounted from first-hand
+information, and there will be no difficulty on the part of any one in
+tracing the similarity of the itinerary.</p>
+
+<p>Chapter I., of the work in question, brings us at once on familiar ground,
+and gives a description of Villers-Cotterets and its inhabitants in a
+manner which shows Dumas&#8217; hand so unmistakably as to remove any doubts as
+to the volume of assistance he may have received from others, on this
+particular book at least.</p>
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>&#8220;On the borders of Picardy and the province of Soissons, and on that part
+of the national territory which, under the name of the Isle of France,
+formed a portion of the ancient patrimony of our kings, and in the centre
+of an immense crescent, formed by a forest of fifty thousand acres, which
+stretches its horns to the north and south, rises, almost buried amid the
+shades of a vast park planted by Fran&ccedil;ois I. and Henri II., the small city
+of Villers-Cotterets. This place is celebrated from having given birth to
+Charles Albert Demoustier, who, at the period when our present history
+commences, was there writing his Letters to Emilie on Mythology, to the
+unbounded satisfaction of the pretty women of those days, who eagerly
+snatched his publications from each other as soon as printed.</p>
+
+<p>&#8220;Let us add, to complete the poetical reputation of this little city,
+whose detractors, notwithstanding its royal ch&acirc;teau and its two thousand
+four hundred inhabitants, obstinately persist in calling it a mere
+village&mdash;let us add, we say, to complete its poetical reputation, that it
+is situated at two leagues distance from Laferte-Milan, where Racine was
+born, and eight leagues from Ch&acirc;teau-Thierry, the birthplace of La
+Fontaine.</p>
+
+<p>&#8220;Let us also state that the mother of the author<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> of &#8216;Britannicus&#8217; and
+&#8216;Athalie&#8217; was from Villers-Cotterets.</p>
+
+<p>&#8220;But now we must return to its royal ch&acirc;teau and its two thousand four
+hundred inhabitants.</p>
+
+<p>&#8220;This royal ch&acirc;teau, begun by Fran&ccedil;ois I., whose salamanders still
+decorate it, and finished by Henri II., whose cipher it bears entwined
+with that of Catherine de Medici and encircled by the three crescents of
+Diana of Poictiers, after having sheltered the loves of the knight king
+with Madame d&#8217;Etampes, and those of Louis Philippe of Orleans with the
+beautiful Madame de Montesson, had become almost uninhabited since the
+death of this last prince; his son, Philippe d&#8217;Orleans, afterward called
+Egalit&eacute;, having made it descend from the rank of a royal residence to that
+of a mere hunting rendezvous.</p>
+
+<p>&#8220;It is well known that the ch&acirc;teau and forest of Villers-Cotterets formed
+part of the appanage settled by Louis XIV. on his brother Monsieur, when
+the second son of Anne of Austria married the sister of Charles II., the
+Princess Henrietta of England.</p>
+
+<p>&#8220;As to the two thousand four hundred inhabitants of whom we have promised
+our readers to say a word, they were, as in all localities where two<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+thousand four hundred people are united, a heterogeneous assemblage.</p>
+
+<p>&#8220;Firstly: Of the few nobles, who spent their summers in the neighbouring
+ch&acirc;teaux and their winters in Paris, and who, mimicking the prince, had
+only a lodging-place in the city.</p>
+
+<p>&#8220;Secondly: Of a goodly number of citizens, who could be seen, let the
+weather be what it might, leaving their houses after dinner, umbrella in
+hand, to take their daily walk, a walk which was regularly bounded by a
+deep, invisible ditch which separated the park from the forest, situated
+about a quarter of a league from the town, and which was called, doubtless
+on account of the exclamation which the sight of it drew from the
+asthmatic lungs of the promenaders, satisfied at finding themselves not
+too much out of breath, the &#8216;Ha, ha!&#8217;</p>
+
+<p>&#8220;Thirdly: Of a considerably greater number of artisans who worked the
+whole of the week and only allowed themselves to take a walk on the
+Sunday; whereas their fellow townsmen, more favoured by fortune, could
+enjoy it every day.</p>
+
+<p>&#8220;Fourthly and finally: Of some miserable proletarians, for whom the week
+had not even a Sabbath, and who, after having toiled six days in the pay
+of the nobles, the citizens, or even of the artisans, wandered on the
+seventh day through the<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> forest to gather up dry wood or branches of the
+lofty trees, torn from them by the storm, that mower of the forest, to
+whom oak-trees are but ears of wheat, and which it scattered over the
+humid soil beneath the lofty trees, the magnificent appanage of a prince.</p>
+
+<p>&#8220;If Villers-Cotterets (Villerii ad Cotiam Reti&aelig;) had been, unfortunately,
+a town of sufficient importance in history to induce arch&aelig;ologists to
+ascertain and follow up its successive changes from a village to a town
+and from a town to a city&mdash;the last, as we have said, being strongly
+contested, they would certainly have proved this fact, that the village
+had begun by being a row of houses on either side of the road from Paris
+to Soissons; then they would have added that its situation on the borders
+of a beautiful forest having, though by slow degrees, brought to it a
+great increase of inhabitants, other streets were added to the first,
+diverging like the rays of a star and leading toward other small villages
+with which it was important to keep up communication, and converging
+toward a point which naturally became the centre, that is to say, what in
+the provinces is called <i>Le Carrefour</i>,&mdash;and sometimes even the Square,
+whatever might be its shape,&mdash;and around which the handsomest buildings of
+the village, now become a burgh, were<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> erected, and in the middle of which
+rises a fountain, now decorated with a quadruple dial; in short, they
+would have fixed the precise date when, near the modest village church,
+the first want of a people, arose the first turrets of the vast ch&acirc;teau,
+the last caprice of a king; a ch&acirc;teau which, after having been, as we have
+already said, by turns a royal and a princely residence, has in our days
+become a melancholy and hideous receptacle for mendicants under the
+direction of the Prefecture of the Seine, and to whom M. Marrast issues
+his mandates through delegates of whom he has not, nor probably will ever
+have, either the time or the care to ascertain the names.&#8221;</p>
+
+<p>The last sentence seems rather superfluous,&mdash;if it was justifiable,&mdash;but,
+after all, no harm probably was done, and Dumas as a rule was never
+vituperative.</p>
+
+<p>Continuing, these first pages give us an account of the difficulties under
+which poor Louis Ange Pitou acquired his knowledge of Latin, which is
+remarkably like the account which Dumas gives in the &#8220;M&eacute;moires&#8221; of his
+early acquaintance with the classics.</p>
+
+<p>When Pitou leaves Haramont, his native village, and takes to the road, and
+visits Billot at &#8220;Bruyere aux Loups,&#8221; knowing well the road, as he did
+that<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> to Damploux, Compi&egrave;gne, and Vivi&egrave;res, he was but covering ground
+equally well known to Dumas&#8217; own youth.</p>
+
+<p>Finally, as he is joined by Billot <i>en route</i> for Paris, and takes the
+highroad from Villers-Cotterets, near Gondeville, passing Nanteuil,
+Dammartin, and Ermenonville, arriving at Paris at La Villette, he follows
+almost the exact itinerary taken by the venturesome Dumas on his runaway
+journey from the notary&#8217;s office at Cr&eacute;py-en-Valois.</p>
+
+<p>Cr&eacute;py-en-Valois was the near neighbour of Villers-Cotterets, which
+jealously attempted to rival it, and does even to-day. In &#8220;The Taking of
+the Bastille&#8221; Dumas only mentions it in connection with Mother Sabot&#8217;s
+<i>&acirc;ne</i>, &#8220;which was shod,&#8221;&mdash;the only ass which Pitou had ever known which
+wore shoes,&mdash;and performed the duty of carrying the mails between Cr&eacute;py
+and Villers-Cotterets.</p>
+
+<p>At Villers-Cotterets one may come into close contact with the ch&acirc;teau
+which is referred to in the later pages of the &#8220;Vicomte de Bragelonne.&#8221;
+&#8220;Situated in the middle of the forest, where we shall lead a most
+sentimental life, the very same where my grandfather,&#8221; said Monseigneur
+the Prince, &#8220;Henri IV. did with &#8216;La Belle Gabrielle.&#8217;&#8221;</p>
+
+<p>So far as lion-hunting goes, Dumas himself at an early age appears to have
+fallen into it. He<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> recalls in &#8220;Mes M&eacute;moires&#8221; the incident of Napoleon I.
+passing through Villers-Cotterets just previous to the battle of Waterloo.</p>
+
+<p>&#8220;Nearly every one made a rush for the emperor&#8217;s carriage,&#8221; said he;
+&#8220;naturally I was one of the first.... Napoleon&#8217;s pale, sickly face seemed
+a block of ivory.... He raised his head and asked, &#8216;Where are we?&#8217; &#8216;At
+Villers-Cotterets, Sire,&#8217; said a voice. &#8216;Go on.&#8217;&#8221; Again, a few days later,
+as we learn from the &#8220;M&eacute;moires,&#8221; &#8220;a horseman coated with mud rushes into
+the village; orders four horses for a carriage which is to follow, and
+departs.... A dull rumble draws near ... a carriage stops.... &#8216;Is it
+he&mdash;the emperor?&#8217; Yes, it was the emperor, in the same position as I had
+seen him before, exactly the same, pale, sickly, impassive; only the head
+droops rather more.... &#8216;Where are we?&#8217; he asked. &#8216;At Villers-Cotterets,
+Sire.&#8217; &#8216;Go on.&#8217;&#8221;</p>
+
+<p>That evening Napoleon slept at the Elys&eacute;e. It was but three months since
+he had returned from Elba, but in that time he came to an abyss which had
+engulfed his fortune. That abyss was Waterloo; only saved to the
+allies&mdash;who at four in the afternoon were practically defeated&mdash;by the
+coming up of the Germans at six.</p>
+
+<p>Among the books of reference and contemporary<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> works of a varying nature
+from which a writer in this generation must build up his facts anew, is
+found a wide difference in years as to the date of the birth of Dumas
+<i>p&egrave;re</i>.</p>
+
+<p>As might be expected, the weight of favour lies with the French
+authorities, though by no means do they, even, agree among themselves.</p>
+
+<p>His friends have said that no unbiassed, or even complete biography of the
+author exists, even in French; and possibly this is so. There is about
+most of them a certain indefiniteness and what Dumas himself called the
+&#8220;colour of sour grapes.&#8221;</p>
+
+<p>The exact date of his birth, however, is unquestionably 1802, if a
+photographic reproduction of his natal certificate, published in Charles
+Glinel&#8217;s &#8220;Alex. Dumas et Son &OElig;uvre,&#8221; is what it seems to be.</p>
+
+<p>Dumas&#8217; aristocratic parentage&mdash;for such it truly was&mdash;has been the
+occasion of much scoffing and hard words. He pretended not to it himself,
+but it was founded on family history, as the records plainly tell, and
+whether Alexandre, the son of the brave General Dumas, the Marquis de la
+Pailleterie, was prone to acknowledge it or not does not matter in the
+least. The &#8220;feudal particle&#8221; existed plainly in his pedigree, and with no
+discredit to any concerned.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_26_tmb.jpg" alt="" /><br />
+<a href="images/fp_26.jpg"><small>Larger Image</small></a></div>
+<p class="center">FACSIMILE OF DUMAS&#8217; OWN STATEMENT OF HIS BIRTH</p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>General Dumas, his wife, and his son are buried in the cemetery of
+Villers-Cotterets, where the exciting days of the childhood of Dumas, the
+romancer, were spent, in a plot of ground &#8220;conceded in perpetuity to the
+family.&#8221; The plot forms a rectangle six metres by five, surrounded by
+towering pines.</p>
+
+<p>The three monuments contained therein are of the utmost simplicity, each
+consisting of an inclined slab of stone.</p>
+
+<p>The inscriptions are as follows:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td align="center" class="btlr">FAMILLE</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center" class="btlr">ALEXANDRE</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center" class="btlr">DUMAS</td></tr>
+<tr><td align="center" class="btlr">Thomas-Alexandre</td><td>&nbsp;</td>
+    <td align="center" class="btlr">Marie-Louise-Elizabeth</td><td>&nbsp;</td>
+    <td align="center" class="btlr">Alexandre Dumas</td></tr>
+<tr><td align="center" class="blr">Dumas</td><td>&nbsp;</td>
+    <td align="center" class="blr">Labouret</td><td>&nbsp;</td>
+    <td align="center" class="blr">n&eacute; &agrave; Villers-Cotterets</td></tr>
+<tr><td align="center" class="blr">Davy de la Pailleterie</td><td>&nbsp;</td>
+    <td align="center" class="blr">&Eacute;pouse</td><td>&nbsp;</td>
+    <td align="center" class="blr">le 24 juillet 1802</td></tr>
+<tr><td align="center" class="blr">g&eacute;n&eacute;ral d&eacute; division</td><td>&nbsp;</td>
+    <td align="center" class="blr">du g&eacute;n&eacute;ral de division</td><td>&nbsp;</td>
+    <td align="center" class="blr">d&eacute;c&eacute;d&eacute;</td></tr>
+<tr><td align="center" class="blr">n&eacute; &agrave; Jeremie</td><td>&nbsp;</td>
+    <td align="center" class="blr">Dumas Davy</td><td>&nbsp;</td>
+    <td align="center" class="blr">le 5 d&eacute;cembre 1870</td></tr>
+<tr><td align="center" class="blr">Ile et C&ocirc;te de Saint</td><td>&nbsp;</td>
+    <td align="center" class="blr">de la Pailleterie</td><td>&nbsp;</td>
+    <td align="center" class="blr">&agrave; Puys</td></tr>
+<tr><td align="center" class="blr">Dominique</td><td>&nbsp;</td>
+    <td align="center" class="blr">n&eacute;e</td><td>&nbsp;</td>
+    <td align="center" class="blr">transf&eacute;r&eacute;</td></tr>
+<tr><td align="center" class="blr">le 25 mars 1762,</td><td>&nbsp;</td>
+    <td align="center" class="blr">&agrave; Villers-Cotterets</td><td>&nbsp;</td>
+    <td align="center" class="blr">&agrave;</td></tr>
+<tr><td align="center" class="blr">d&eacute;c&eacute;d&eacute;</td><td>&nbsp;</td>
+    <td align="center" class="blr">le 4 juillet 1769</td><td>&nbsp;</td>
+    <td align="center" class="blr">Villers-Cotterets</td></tr>
+<tr><td align="center" class="blr">&agrave; Villers-Cotterets</td><td>&nbsp;</td>
+    <td align="center" class="blr">d&eacute;c&eacute;d&eacute;e</td><td>&nbsp;</td>
+    <td align="center" class="blr">le</td></tr>
+<tr><td align="center" class="bblr">le 27 f&eacute;vrier 1806</td><td>&nbsp;</td>
+    <td align="center" class="bblr">le 1er aout 1838</td><td>&nbsp;</td>
+    <td align="center" class="bblr">15 avril 1872</td></tr></table>
+
+<p>There would seem to be no good reason why a book treating of Dumas&#8217; Paris
+might not be composed entirely of quotations from Dumas&#8217; own works. For a
+fact, such a work would be no less valuable as a record than were it
+evolved by any<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> other process. It would indeed be the best record that
+could possibly be made, for Dumas&#8217; topography was generally truthful if
+not always precise.</p>
+
+<p>There are, however, various contemporary side-lights which are thrown upon
+any canvas, no matter how small its area, and in this instance they seem
+to engulf even the personality of Dumas himself, to say nothing of his
+observations.</p>
+
+<p>Dumas was such a part and parcel of the literary life of the times in
+which he lived that mention can scarce be made of any contemporary event
+that has not some bearing on his life or work, or he with it, from the
+time when he first came to the metropolis (in 1822) at the impressionable
+age of twenty, until the end.</p>
+
+<p>It will be difficult, even, to condense the relative incidents which
+entered into his life within the confines of a single volume, to say
+nothing of a single chapter. The most that can be done is to present an
+abridgment which shall follow along the lines of some preconceived
+chronological arrangement. This is best compiled from Dumas&#8217; own words,
+leaving it to the additional references of other chapters to throw a sort
+of reflected glory from a more distant view-point.</p>
+
+<p>The reputation of Dumas with the merely casual reader rests upon his
+best-known romances, &#8220;Monte<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> Cristo,&#8221; 1841; &#8220;Les Trois Mousquetaires,&#8221;
+1844; &#8220;Vingt Ans Apr&egrave;s,&#8221; 1845; &#8220;Le Vicomte de Bragelonne,&#8221; 1847; &#8220;La Dame
+de Monsoreau,&#8221; 1847; and his dramas of &#8220;Henri III. et Sa Cour,&#8221; 1829,
+&#8220;Antony,&#8221; 1831, and &#8220;Kean,&#8221; 1836.</p>
+
+<p>His memoirs, &#8220;Mes M&eacute;moires,&#8221; are practically closed books to the mass of
+English readers&mdash;the word books is used advisedly, for this remarkable
+work is composed of twenty stout volumes, and they only cover ten years of
+the author&#8217;s life.</p>
+
+<p>Therein is a mass of fact and fancy which may well be considered as
+fascinating as are the &#8220;romances&#8221; themselves, and, though autobiographic,
+one gets a far more satisfying judgment of the man than from the various
+warped and distorted accounts which have since been published, either in
+French or English.</p>
+
+<p>Beginning with &#8220;Memories of My Childhood&#8221; (1802-06), Dumas launches into
+a few lines anent his first visit to Paris, in company with his father,
+though the auspicious&mdash;perhaps significant&mdash;event took place at a very
+tender age. It seems remarkable that he should have recalled it at all,
+but he was a remarkable man, and it seems not possible to ignore his
+words.</p>
+
+<p>&#8220;We set out for Paris, ah, that journey! I recollect it perfectly.... It
+was August or <span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>September, 1805. We got down in the Rue Thiroux at the
+house of one Doll&eacute;.... I had been embraced by one of the most noble ladies
+who ever lived, Madame la Marquise de Montesson, widow of Louis-Philippe
+d&#8217;Orleans.... The next day, putting Brune&#8217;s sword between my legs and
+Murat&#8217;s hat upon my head, I galloped around the table; when my father
+said, &#8216;<i>Never forget this, my boy</i>.&#8217;... My father consulted Corvisart, and
+attempted to see the emperor, but Napoleon, the quondam general, had now
+become the emperor, and he refused to see my father.... To where did we
+return? I believe Villers-Cotterets.&#8221;</p>
+
+<p>Again on the 26th of March, 1813, Dumas entered Paris in company with his
+mother, now widowed. He says of this visit:</p>
+
+<p>&#8220;I was delighted at the prospect of this my second visit.... I have but
+one recollection, full of light and poetry, when, with a flourish of
+trumpets, a waving of banners, and shouts of &#8216;Long live the King of Rome,&#8217;
+was lifted up above the heads of fifty thousand of the National Guard the
+rosy face and the fair, curly head of a child of three years&mdash;the infant
+son of the great Napoleon.... Behind him was his mother,&mdash;that woman so
+fatal to France, as have been all the daughters of the C&aelig;sars, Anne of
+Austria, Marie Antoinette,<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> and Marie Louise,&mdash;an indistinct, insipid
+face.... The next day we started home again.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Through the influence of General Foy, an old friend of his father&#8217;s, Dumas
+succeeded in obtaining employment in the Orleans Bureau at the Palais
+Royal.</p>
+
+<p>His occupation there appears not to have been unduly arduous. The offices
+were in the right-hand corner of the second courtyard of the Palais Royal.
+He remained here in this bureau for a matter of five years, and, as he
+said, &#8220;loved the hour when he came to the office,&#8221; because his immediate
+superior, Lassagne,&mdash;a contributor to the <i>Drapeau Blanc</i>,&mdash;was the friend
+and intimate of D&eacute;saugiers, Th&eacute;aulon, Armand Gouff&eacute;, Brozier, Rougemont,
+and all the vaudevillists of the time.</p>
+
+<p>Dumas&#8217; meeting with the Duc d&#8217;Orleans&mdash;afterward Louis-Philippe&mdash;is
+described in his own words thus: &#8220;In two words I was introduced. &#8216;My lord,
+this is M. Dumas, whom I mentioned to you, General Foy&#8217;s prot&eacute;g&eacute;.&#8217; &#8216;You
+are the son of a brave man,&#8217; said the duc, &#8216;whom Bonaparte, it seems, left
+to die of starvation.&#8217;... The duc gave Oudard a nod, which I took to mean,
+&#8216;He will do, he&#8217;s by no means bad for a provincial.&#8217;&#8221; And so it was that
+Dumas came immediately under the<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> eye of the duc, engaged as he was at
+that time on some special clerical work in connection with the duc&#8217;s
+provincial estates.</p>
+
+<p>The affability of Dumas, so far as he himself was concerned, was a
+foregone conclusion. In the great world in which he moved he knew all
+sorts and conditions of men. He had his enemies, it is true, and many of
+them, but he himself was the enemy of no man. To English-speaking folk he
+was exceedingly agreeable, because,&mdash;quoting his own words,&mdash;said he, &#8220;It
+was a part of the debt which I owed to Shakespeare and Scott.&#8221; Something
+of the egoist here, no doubt, but gracefully done nevertheless.</p>
+
+<p>With his temperament it was perhaps but natural that Dumas should have
+become a romancer. This was of itself, maybe, a foreordained sequence of
+events, but no man thinks to-day that, leaving contributary conditions,
+events, and opportunities out of the question, he shapes his own fate;
+there are accumulated heritages of even distant ages to contend with. In
+Dumas&#8217; case there was his heritage of race and colour, refined, perhaps,
+by a long drawn out process, but, as he himself tells in &#8220;Mes M&eacute;moires,&#8221;
+his mother&#8217;s fear was that her child would be born black, and he <i>was</i>,
+or, at least, purple, as he himself afterward put it.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+<h3>DUMAS&#8217; LITERARY CAREER</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Just</span> how far Dumas&#8217; literary ability was an inheritance, or growth of his
+early environment, will ever be an open question. It is a manifest fact
+that he had breathed something of the spirit of romance before he came to
+Paris.</p>
+
+<p>Although it was not acknowledged until 1856, &#8220;The Wolf-Leader&#8221; was a
+development of a legend told to him in his childhood. Recalling then the
+incident of his boyhood days, and calling into recognition his gift of
+improvisation, he wove a tale which reflected not a little of the open-air
+life of the great forest of Villers-Cotterets, near the place of his
+birth.</p>
+
+<p>Here, then, though it was fifty years after his birth, and thirty after he
+had thrust himself on the great world of Paris, the scenes of his
+childhood were reproduced in a wonderfully romantic<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> and weird
+tale&mdash;which, to the best of the writer&#8217;s belief, has not yet appeared in
+English.</p>
+
+<p>To some extent it is possible that there is not a little of autobiography
+therein, not so much, perhaps, as Dickens put into &#8220;David Copperfield,&#8221;
+but the suggestion is thrown out for what it may be worth.</p>
+
+<p>It is, furthermore, possible that the historic associations of the town of
+Villers-Cotterets&mdash;which was but a little village set in the midst of the
+surrounding forest&mdash;may have been the prime cause which influenced and
+inspired the mind of Dumas toward the romance of history.</p>
+
+<p>In point of chronology, among the earliest of the romances were those that
+dealt with the fortunes of the house of Valois (fourteenth century), and
+here, in the little forest town of Villers-Cotterets, was the magnificent
+manor-house which belonged to the Ducs de Valois; so it may be presumed
+that the sentiment of early associations had somewhat to do with these
+literary efforts.</p>
+
+<p>All his life Dumas devotedly admired the sentiment and fancies which
+foregathered in this forest, whose very trees and stones he knew so well.
+From his &#8220;M&eacute;moires&#8221; we learn of his indignation at the destruction of its
+trees and much of its natural beauty. He says:</p>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>&#8220;This park, planted by Fran&ccedil;ois I., was cut down by Louis-Philippe. Trees,
+under whose shade once reclined Fran&ccedil;ois I. and Madame d&#8217;Etampes, Henri
+II. and Diane de Poitiers, Henri IV. and Gabrielle d&#8217;Estr&eacute;es&mdash;you would
+have believed that a Bourbon would have respected you. But over and above
+your inestimable value of poetry and memories, you had, unhappily, a
+material value. You beautiful beeches with your polished silvery cases!
+you beautiful oaks with your sombre wrinkled bark!&mdash;you were worth a
+hundred thousand crowns. The King of France, who, with his six millions of
+private revenue, was too poor to keep you&mdash;the King of France sold you.
+For my part, had you been my sole possession, I would have preserved you;
+for, poet as I am, one thing that I would set before all the gold of the
+earth: the murmur of the wind in your leaves; the shadow that you made to
+flicker beneath my feet; the visions, the phantoms, which, at eventide,
+betwixt the day and night, in the doubtful hour of twilight, would glide
+between your age-long trunks as glide the shadows of the ancient
+Abencerrages amid the thousand columns of Cordova&#8217;s royal mosque.&#8221;</p>
+
+
+<p>What wonder, with these lines before one, that the impressionable Dumas
+was so taken with the<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> romance of life and so impracticable in other ways.</p>
+
+<hr style="width: 25%;" />
+
+<p>From the fact that no thorough biography of Dumas exists, it will be
+difficult to trace the fluctuations of his literary career with
+preciseness. It is not possible even with the twenty closely packed
+volumes of the &#8220;M&eacute;moires&#8221;&mdash;themselves incomplete&mdash;before one. All that a
+biographer can get from this treasure-house are facts,&mdash;rather radiantly
+coloured in some respects, but facts nevertheless,&mdash;which are put together
+in a not very coherent or compact form.</p>
+
+<p>They do, to be sure, recount many of the incidents and circumstances
+attendant upon the writing and publication of many of his works, and
+because of this they immediately become the best of all sources of supply.
+It is to be regretted that these &#8220;M&eacute;moires&#8221; have not been translated,
+though it is doubtful if any publisher of English works could get his
+money back from the transaction.</p>
+
+<p>Other clues as to his emotions, and with no uncertain references to
+incidents of Dumas&#8217; literary career, are found in &#8220;Mes B&ecirc;tes,&#8221; &#8220;Ange
+Pitou,&#8221; the &#8220;Causeries,&#8221; and the &#8220;Travels.&#8221; These comprise many volumes
+not yet translated.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_36_tmb.jpg" alt="" /><br />
+<a href="images/fp_36.jpg"><small>Larger Image</small></a></div>
+<p class="center">FACSIMILE OF A MANUSCRIPT PAGE FROM ONE OF DUMAS&#8217; PLAYS</p>
+<p>&nbsp;</p>
+
+<p>Dumas was readily enough received into the folds<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> of the great. Indeed,
+as we know, he made his <i>entr&eacute;e</i> under more than ordinary, if not
+exceptional, circumstances, and his connection with the great names of
+literature and statecraft extended from Hugo to Garibaldi.</p>
+
+<p>As for his own predilections in literature, Dumas&#8217; own voice is
+practically silent, though we know that he was a romanticist pure and
+simple, and drew no inspiration or encouragement from Voltairian
+sentiments. If not essentially religious, he at least believed in its
+principles, though, as a warm admirer has said, &#8220;He had no liking for the
+celibate and bookish life of the churchman.&#8221;</p>
+
+<p>Dumas does not enter deeply into the subject of ecclesiasticism in France.
+His most elaborate references are to the Abbey of Ste. Genevieve&mdash;since
+disappeared in favour of the hideous pagan Panth&eacute;on&mdash;and its relics and
+associations, in &#8220;La Dame de Monsoreau.&#8221; Other of the romances from time
+to time deal with the subject of religion more or less, as was bound to
+be, considering the times of which he wrote, of Mazarin, Richelieu, De
+Rohan, and many other churchmen.</p>
+
+<p>Throughout the thirties Dumas was mostly occupied with his plays, the
+predominant, if not the most sonorous note, being sounded by &#8220;Antony.&#8221;</p>
+
+<p>As a novelist his star shone brightest in the <span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>decade following,
+commencing with &#8220;Monte Cristo,&#8221; in 1841, and continuing through &#8220;Le
+Vicomte de Bragelonne&#8221; and &#8220;La Dame de Monsoreau,&#8221; in 1847.</p>
+
+<p>During these strenuous years Dumas produced the flower of his romantic
+garland&mdash;omitting, of course, certain trivial and perhaps unworthy
+trifles, among which are usually considered, rightly enough, &#8220;Le Capitaine
+Paul&#8221; (Paul Jones) and &#8220;Jeanne d&#8217;Arc.&#8221; At this period, however, he
+produced the charming and exotic &#8220;Black Tulip,&#8221; which has since come to be
+a reality. The best of all, though, are admittedly the Mousquetaire cycle,
+the volumes dealing with the fortunes of the Valois line, and, again,
+&#8220;Monte Cristo.&#8221;</p>
+
+<p>By 1830, Dumas, eager, as it were, to experience something of the valiant
+boisterous spirit of the characters of his romances, had thrown himself
+heartily into an alliance with the opponents of Louis-Philippe. Orleanist
+successes, however, left him to fall back upon his pen.</p>
+
+<p>In 1844, having finished &#8220;Monte Cristo,&#8221; he followed it by &#8220;Les Trois
+Mousquetaires,&#8221; and before the end of the same year had put out forty
+volumes, by what means, those who will read the scurrilous &#8220;Fabrique des
+Romans&#8221;&mdash;and properly discount it&mdash;may learn.</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>The publication of &#8220;Monte Cristo&#8221; and &#8220;Les Trois Mousquetaires&#8221; as
+newspaper <i>feuilletons</i>, in 1844-45, met with amazing success, and were,
+indeed, written from day to day, to keep pace with the demands of the
+press.</p>
+
+<p>Here is, perhaps, an opportune moment to digress into the ethics of the
+profession of the &#8220;literary ghost,&#8221; and but for the fact that the subject
+has been pretty well thrashed out before,&mdash;not only with respect to Dumas,
+but to others as well,&mdash;it might justifiably be included here at some
+length, but shall not be, however.</p>
+
+<p>The busy years from 1840-50 could indeed be &#8220;explained&#8221;&mdash;if one were sure
+of his facts; but beyond the circumstances, frequently availed of, it is
+admitted, of Dumas having made use of secretarial assistance in the
+productions which were ultimately to be fathered by himself, there is
+little but jealous and spiteful hearsay to lead one to suppose that he
+made any secret of the fact that he had some very considerable assistance
+in the production of the seven hundred volumes which, at a late period in
+his life, he claimed to have produced.</p>
+
+<p>The &#8220;<i>Maquet affaire</i>,&#8221; of course, proclaims the whilom Augustus Mackeat
+as a <i>collaborateur</i>; still the ingenuity of Dumas shines forth through
+the<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> warp and woof in an unmistakable manner, and he who would know more
+of the pros and cons is referred to the &#8220;<i>Maison Dumas et Cie</i>.&#8221;</p>
+
+<p>Maquet was manifestly what we have come to know as a &#8220;hack,&#8221; though the
+species is not so very new&mdash;nor so very rare. The great libraries are full
+of them the whole world over, and very useful, though irresponsible and
+ungrateful persons, many of them have proved to be. Maquet, at any rate,
+served some sort of a useful purpose, and he certainly was a confidant of
+the great romancer during these very years, but that his was the mind and
+hand that evolved or worked out the general plan and detail of the
+romances is well-nigh impossible to believe, when one has digested both
+sides of the question.</p>
+
+<p>An English critic of no inconsiderable knowledge has thrown in his lot
+recently with the claims of Maquet, and given the sole and entire
+production of &#8220;Les Trois Mousquetaires,&#8221; &#8220;Monte Cristo,&#8221; &#8220;La Dame de
+Monsoreau,&#8221; and many other of Dumas&#8217; works of this period, to him, placing
+him, indeed, with Shakespeare, whose plays certain gullible persons
+believe to have been written by Bacon. The flaw in the theory is apparent
+when one realizes that the said Maquet was no myth&mdash;he was, in fact, a
+very real person, and a literary personage of a <span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>certain ability. It is
+strange, then, that if he were the producer of, say &#8220;Les Trois
+Mousquetaires,&#8221; which was issued ostensibly as the work of Dumas, that he
+wrote nothing under his own name that was at all comparable therewith; and
+stranger still, that he was able to repeat this alleged success with
+&#8220;Monte Cristo,&#8221; or the rest of the Mousquetaire series, and yet not be
+able to do the same sort of a feat when playing the game by himself. One
+instance would not prove this contention, but several are likely to not
+only give it additional strength, but to practically demonstrate the
+correct conclusion.</p>
+
+<p>The ethics of plagiarism are still greater and more involved than those
+which make justification for the employment of one who makes a profession
+of <i>library research</i>, but it is too involved and too vast to enter into
+here, with respect to accusations of its nature which were also made
+against Dumas.</p>
+
+<p>As that new star which has so recently risen out of the East&mdash;Mr.
+Kipling&mdash;has said, &#8220;They took things where they found them.&#8221; This is
+perhaps truthful with regard to most literary folk, who are continually
+seeking a new line of thought. Scott did it, rather generously one might
+think; even Stevenson admitted that he was greatly indebted to Washington
+Irving and Poe for certain<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> of the details of &#8220;Treasure Island&#8221;&mdash;though
+there is absolutely no question but that it was a sort of unconscious
+absorption, to put it rather unscientifically. The scientist himself calls
+it the workings of the subconscious self.</p>
+
+<p>As before said, the Maquet <i>affaire</i> was a most complicated one, and it
+shall have no lengthy consideration here. Suffice to say that, when a case
+was made by Maquet in court, in 1856-58, Maquet lost. &#8220;It is not justice
+that has won,&#8221; said Maquet, &#8220;but Dumas.&#8221;</p>
+
+<p>Edmond About has said that Maquet lived to speak kindly of Dumas, &#8220;as did
+his legion of other <i>collaborateurs</i>; and the proudest of them
+congratulate themselves on having been trained in so good a school.&#8221; This
+being so, it is hard to see anything very outrageous or preposterous in
+the procedure.</p>
+
+<p>Blaze de Bury has described Dumas&#8217; method thus:</p>
+
+<p>&#8220;The plot was worked over by Dumas and his colleague, when it was finally
+drafted by the other and afterward <i>rewritten</i> by Dumas.&#8221;</p>
+
+<p>M. About, too, corroborates Blaze de Bury&#8217;s statement, so it thus appears
+legitimately explained. Dumas at least supplied the ideas and the
+<i>esprit</i>.</p>
+
+<p>In Dumas&#8217; later years there is perhaps more <span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>justification for the thought
+that as his indolence increased&mdash;though he was never actually inert, at
+least not until sickness drew him down&mdash;the authorship of the novels
+became more complex. Blaze de Bury put them down to the &#8220;Dumas-Legion,&#8221;
+and perhaps with some truth. They certainly have not the vim and fire and
+temperament of individuality of those put forth from 1840 to 1850.</p>
+
+<p>Dumas wrote fire and impetuosity into the veins of his heroes, perhaps
+some of his very own vivacious spirit. It has been said that his moral
+code was that of the camp or the theatre; but that is an ambiguity, and it
+were better not dissected.</p>
+
+<p>Certainly he was no prude or Puritan, not more so, at any rate, than were
+Burns, Byron, or Poe, but the virtues of courage, devotion, faithfulness,
+loyalty, and friendship were his, to a degree hardly excelled by any of
+whom the written record of <i>cameraderie</i> exists.</p>
+
+<p>Dumas has been jibed and jeered at by the supercilious critics ever since
+his first successes appeared, but it has not leavened his reputation as
+the first romancer of his time one single jot; and within the past few
+years we have had a revival of the character of true romance&mdash;perhaps the
+first <i>true</i> revival since Dumas&#8217; time&mdash;in M. Rostand&#8217;s &#8220;Cyrano de
+Bergerac.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>We have had, too, the works of Zola, who, indomitable, industrious, and
+sincere as he undoubtedly was, will have been long forgotten when the
+masterpieces of Dumas are being read and reread. The Mousquetaire cycle,
+the Valois romances, and &#8220;Monte Cristo&#8221; stand out by themselves above all
+others of his works, and have had the approbation of such discerning
+fellow craftsmen as George Sand, Thackeray, and Stevenson, all of whom may
+be presumed to have judged from entirely different points of view.
+Thackeray, indeed, plainly indicated his greatest admiration for &#8220;La
+Tulipe Noire,&#8221; a work which in point of time came somewhat later. At this
+time Dumas had built his own Chalet de Monte Cristo near St. Germain, a
+sort of a Gallic rival to Abbotsford. It, and the &#8220;Th&eacute;&acirc;tre Historique,&#8221;
+founded by Dumas, came to their disastrous end in the years immediately
+following upon the Revolution of 1848, when Dumas fled to Brussels and
+began his &#8220;M&eacute;moires.&#8221; He also founded a newspaper called <i>Le
+Mousquetaire</i>, which failed, else he might have retrenched and satisfied
+his creditors&mdash;at least in part.</p>
+
+<p>He travelled in Russia, and upon his return wrote of his journey to the
+Caspian. In 1860 he obtained an arch&aelig;ological berth in Italy, and edited a
+Garibaldian newspaper.</p>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>By 1864, the &#8220;Director of Excavations at Naples,&#8221; which was Dumas&#8217;
+official title, fell out with the new government which had come in, and he
+left his partisan journal and the lava-beds of Pompeii for Paris and the
+literary arena again; but the virile power of his early years was gone,
+and Dumas never again wielded the same pen which had limned the features
+of Athos, Porthos, Aramis, and D&#8217;Artagnan.</p>
+
+<p>In 1844 Dumas participated in a sort of personally-conducted Bonapartist
+tour to the Mediterranean, in company with the son of Jerome Napoleon. On
+this journey Dumas first saw the island of Monte Cristo and the Ch&acirc;teau
+d&#8217;If, which lived so fervently in his memory that he decided that their
+personality should be incorporated in the famous tale which was already
+formulating itself in his brain.</p>
+
+<p>Again, this time in company with the Duc de Montpensier, he journeyed to
+the Mediterranean, &#8220;did&#8221; Spain, and crossed over to Algiers. When he
+returned he brought back the celebrated vulture, &#8220;Jugurtha,&#8221; whose fame
+was afterward perpetuated in &#8220;Mes B&ecirc;tes.&#8221;</p>
+
+<p>That there was a deal of reality in the characterization and the locale of
+Dumas&#8217; romances will not be denied by any who have acquaintance
+therewith.<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> Dumas unquestionably took his material where he found it, and
+his wonderfully retentive memory, his vast capacity for work, and his wide
+experience and extensive acquaintance provided him material that many
+another would have lacked.</p>
+
+<p>M. de Chaffault tells of his having accompanied Dumas by road from Sens to
+Joigny, Dumas being about to appeal to the republican constituency of that
+place for their support of him as a candidate for the parliamentary
+elections.</p>
+
+<p>&#8220;In a short time we were on the road,&#8221; said the narrator, &#8220;and the first
+stage of three hours seemed to me only as many minutes. Whenever we passed
+a country-seat, out came a lot of anecdotes and legends connected with its
+owners, interlarded with quaint fancies and epigrams.&#8221;</p>
+
+<p>Aside from the descriptions of the country around about Cr&eacute;py, Compi&egrave;gne,
+and Villers-Cotterets which he wove into the Valois tales, &#8220;The Taking of
+the Bastille,&#8221; and &#8220;The Wolf-Leader,&#8221; there is a strong note of
+personality in &#8220;Georges;&#8221; some have called it autobiography.</p>
+
+<p>The tale opens in the far-distant Isle of France, called since the English
+occupation Mauritius, and in the narrative of the half-caste Georges
+Munier are supposed to be reflected many of the personal incidents of the
+life of the author.</p>
+
+<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>This story may or may not be a mere repetition of certain of the incidents
+of the struggle of the mulatto against the barrier of the white
+aristocracy, and may have been an echo in Dumas&#8217; own life. It is repeated
+it may have been this, or it may have been much more. Certain it is, there
+is an underlying motive which could only have been realized to the full
+extent expressed therein by one who knew and felt the pangs of the
+encounter with a world which only could come to one of genius who was by
+reason of race or creed outclassed by his contemporaries; and therein is
+given the most vivid expression of the rise of one who had everything
+against him at the start.</p>
+
+<p>This was not wholly true of Dumas himself, to be sure, as he was endowed
+with certain influential friends. Still it was mainly through his own
+efforts that he was able to prevail upon the old associates and friends of
+the dashing General Dumas, his father, to give him his first lift along
+the rough and stony literary pathway.</p>
+
+<p>In this book there is a curious interweaving of the life and colour which
+may have had not a little to do with the actual life which obtained with
+respect to his ancestors, and as such, and the various descriptions of
+negro and Creole life, the story <span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>becomes at once a document of prime
+interest and importance.</p>
+
+<p>Since Dumas himself has explained and justified the circumstance out of
+which grew the conception of the D&#8217;Artagnan romances, it is perhaps
+advisable that some account should be given of the original D&#8217;Artagnan.</p>
+
+<p>Primarily, the interest in Dumas&#8217; romance of &#8220;Les Trois Mousquetaires&#8221; is
+as great, if not greater, with respect to the characters as it is with the
+scenes in which they lived and acted their strenuous parts. In addition,
+there is the profound satisfaction of knowing that the rollicking and
+gallant swashbuckler has come down to us from the pages of real life, as
+Dumas himself recounts in the preface to the Colman L&eacute;vy edition of the
+book. The statement of Dumas is explicit enough; there is no mistaking his
+words which open the preface:</p>
+
+<p class="poem"><span style="margin-left: 7.5em;">&#8220;Dans laquelle</span><br />
+<span style="margin-left: 2em;">Il est &eacute;tabli que, malgr&eacute; leurs noms en <i>os</i> et en <i>is</i>,</span><br />
+<span style="margin-left: 6.5em;">Les h&eacute;ros de l&#8217;histoire</span><br />
+Que nous allons avoir l&#8217;honneur de raconter &agrave; nos lecteurs<br />
+<span style="margin-left: 5.5em;">N&#8217;ont rien de mythologique.&#8221;</span></p>
+
+<p>The contemporary facts which connect the real Comte d&#8217;Artagnan with
+romances are as follows:</p>
+
+<p>Charles de Batz de Castlemore, Comte <span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>d&#8217;Artagnan, received his title
+from the little village of Artagnan, near the Gascon town of Orthez in the
+present department of the Hautes-Pyr&eacute;n&eacute;es. He was born in 1623. Dumas,
+with an author&#8217;s license, made his chief figure a dozen years older, for
+the real D&#8217;Artagnan was but five years old at the time of the siege of La
+Rochelle of which Dumas makes mention. On the whole, the romance is near
+enough to reality to form an ample endorsement of the author&#8217;s verity.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_48.jpg" alt="" /></div>
+<p class="center">D&#8217;ARTAGNAN</p>
+<p>&nbsp;</p>
+
+<p>The real D&#8217;Artagnan made his way to Paris, as did he of the romance. Here
+he met his fellow B&eacute;arnais, one M. de Treville, captain of the king&#8217;s
+musketeers, and the illustrious individuals, <i>Armand de Sillegue d&#8217;Athos</i>,
+a B&eacute;arnais nobleman who died in 1645, and whose direct descendant, Colonel
+de Sillegue, commanded, according to the French army lists of a recent
+date, a regiment of French cavalry; <i>Henry d&#8217;Aramitz</i>, lay abb&eacute; of Oloron;
+and <i>Jean de Portu</i>, all of them probably neighbours in D&#8217;Artagnan&#8217;s old
+home.</p>
+
+<p>D&#8217;Artagnan could not then have been at the siege of La Rochelle, but from
+the &#8220;M&eacute;moires de M. d&#8217;Artagnan,&#8221; of which Dumas writes in his preface, we
+learn of his feats at arms at Arras, Valenciennes, Douai, and Lille, all
+places where once and again Dumas placed the action of the novels.</p>
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>The real D&#8217;Artagnan died, sword in hand, &#8220;in the imminent deadly breach&#8221;
+at Maestricht, in 1673. He served, too, under Prince Rupert in the Civil
+War, and frequently visited England, where he had an <i>affaire</i> with a
+certain Milady, which is again reminiscent of the pages of Dumas.</p>
+
+<p>This D&#8217;Artagnan in the flesh married Charlotte Anne de Chanlecy, and the
+last of his direct descendants died in Paris in the latter years of the
+eighteenth century, but collateral branches of the family appear still to
+exist in Gascony, and there was a certain Baron de Batz, a B&eacute;arnais, who
+made a daring attempt to save Marie Antoinette in 1793.</p>
+
+<p>The inception of the whole work in Dumas&#8217; mind, as he says, came to him
+while he was making research in the &#8220;Biblioth&egrave;que Royale&#8221; for his history
+of Louis XIV.</p>
+
+<p>Thus from these beginnings grew up that series of romances which gave
+undying fame to Alexandre Dumas, and to the world of readers a series of
+characters and scenes associated with the medi&aelig;val history of France,
+which, before or since, have not been equalled.</p>
+
+<p>Alexandre Dumas has been described as something of the soldier, the cook,
+and the traveller, more of the journalist, diplomatist, and poet, and,
+more than all else, the dramatist, romancer, and<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> <i>raconteur</i>. He himself
+has said that he was a &#8220;veritable Wandering Jew of literature.&#8221;</p>
+
+<p>His versatility in no way comprised his abilities, and, while conceit and
+egoism played a not unimportant share in his make-up, his affability&mdash;when
+he so chose&mdash;caused him to be ranked highly in the estimation of his
+equals and contemporaries. By the cur-dogs, which always snap at the heels
+of a more splendid animal, he was not ranked so high.</p>
+
+<p>Certain of these were for ever twitting him publicly of his creed, race,
+and foibles. It is recorded by Theodore de Bauville, in his &#8220;Odes,&#8221; that
+one Jacquot hailed Dumas in the open street with a ribald jeer, when,
+calmly turning to his detractor, Dumas said, simply: &#8220;Hast thou dined
+to-day, Jacquot?&#8221; Then it was that this said Jacquot published the
+slanderous brochure, &#8220;<i>La Maison Dumas et Cie</i>,&#8221; which has gone down as
+something considerable of a sensation in the annals of literary history;
+so much so, indeed, that most writers who have had occasion to refer to
+Dumas&#8217; literary career have apparently half-believed its accusations,
+which, truth to tell, may have had some bearing on &#8220;things as they were,&#8221;
+had they but been put forward as a bit of temperate criticism rather than
+as a sweeping condemnation.</p>
+
+<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>To give the reader an idea of the Dumas of 1840, one can scarcely do
+better than present his portrait as sketched by De Villemessant, the
+founder and brilliant editor of the <i>Figaro</i>, when Dumas was at the height
+of his glory, and a grasp of his hand was better than a touch of genius to
+those receiving it:</p>
+
+<p>&#8220;At no time and among no people had it till then been granted to a writer
+to achieve fame in every direction; in serious drama and in comedy, and
+novels of adventure and of domestic interest, in humourous stories and in
+pathetic tales, Alexandre Dumas had been alike successful. The frequenters
+of the Th&eacute;&acirc;tre Fran&ccedil;ais owed him evenings of delight, but so did the
+general public as well. Dumas alone had had the power to touch, interest,
+or amuse, not only Paris or France, but the whole world. If all other
+novelists had been swallowed up in an earthquake, this one would have been
+able to supply the leading libraries of Europe. If all other dramatists
+had died, Alexandre Dumas could have occupied every stage; his magic name
+on a playbill or affixed to a newspaper <i>feuilleton</i> ensured the sale of
+that issue or a full house at the theatre. He was king of the stage,
+prince of <i>feuilletonists</i>, <i>the</i> literary man <i>par excellence</i>, in that
+Paris then so full of intellect. When he opened <span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>his lips the most
+eloquent held their breath to listen; when he entered a room the wit of
+man, the beauty of woman, the pride of life, grew dim in the radiance of
+his glory; he reigned over Paris in right of his sovereign intellect, the
+only monarch who for an entire century had understood how to draw to
+himself the adoration of all classes of society, from the Faubourg St.
+Germain to the Batignolles.</p>
+
+<p>&#8220;Just as he united in himself capabilities of many kinds, so he displayed
+in his person the perfection of many races. From the negro he had derived
+the frizzled hair and those thick lips on which Europe had laid a delicate
+smile of ever-varying meaning; from the southern races he derived his
+vivacity of gesture and speech, from the northern his solid frame and
+broad shoulders and a figure which, while it showed no lack of French
+elegance, was powerful enough to have made green with envy the gentlemen
+of the Russian Life-Guards.&#8221;</p>
+
+<p>Dumas&#8217; energy and output were tremendous, as all know. It is recorded that
+on one occasion,&mdash;in the later years of his life, when, as was but
+natural, he had tired somewhat,&mdash;after a day at <i>la chasse</i>, he withdrew
+to a cottage near by to rest until the others should rejoin him, after
+having finished their sport. This they did within a reasonably short
+time,&mdash;whether one hour or two is not stated with<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> definiteness,&mdash;when
+they found him sitting before the fire &#8220;twirling his thumbs.&#8221; On being
+interrogated, he replied that he had not been sitting there long; <i>in
+fact, he had just written the first act of a new play</i>.</p>
+
+<p>The French journal, <i>La Revue</i>, tells the following incident, which sounds
+new. Some years before his death, Dumas had written a somewhat quaint
+letter to Napoleon III., apropos of a play which had been condemned by the
+French censor. In this epistle he commenced:</p>
+
+<p>&#8220;<span class="smcap">Sire</span>:&mdash;In 1830, and, indeed, even to-day, there are three men at the head
+of French literature. These three men are Victor Hugo, Lamartine, and
+myself. Although I am the least of the three, the five continents have
+made me the most popular, probably because the one was a thinker, the
+other a dreamer, while I am merely a writer of commonplace tales.&#8221;</p>
+
+<p>This letter goes on to plead the cause of his play, and from this
+circumstance the censorship was afterward removed.</p>
+
+<p>A story is told of an incident which occurred at a rehearsal of &#8220;Les Trois
+Mousquetaires&#8221; at the &#8220;Ambigu.&#8221; This story is strangely reminiscent of
+another incident which happened at a rehearsal of Hal&eacute;vy&#8217;s &#8220;Guido et
+G&eacute;nevra,&#8221; but it is still worth<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> recounting here, if only to emphasize the
+indomitable energy and perspicacity of Dumas.</p>
+
+<p>It appears that a <i>pompier</i>&mdash;that gaudy, glistening fireman who is always
+present at functions of all sorts on the continent of Europe&mdash;who was
+watching the rehearsal, was observed by Dumas to suddenly leave his point
+of vantage and retire. Dumas followed him and inquired his reason for
+withdrawing. &#8220;What made you go away?&#8221; Dumas asked of him. &#8220;Because that
+last act did not interest me so much as the others,&#8221; was the answer.
+Whereupon Dumas sent for the prompt-book and threw that portion relating
+to that particular tableau into the fire, and forthwith set about to
+rewrite it on the spot. &#8220;It does not amuse the <i>pompier</i>,&#8221; said Dumas,
+&#8220;but I know what it wants.&#8221; An hour and a half later, at the finish of the
+rehearsal, the actors were given their new words for the seventh tableau.</p>
+
+<p>In spite of the varied success with which his plays met, Dumas was, we may
+say, first of all a dramatist, if construction of plot and the moving
+about of dashing and splendid figures counts for anything; and it most
+assuredly does.</p>
+
+<p>This very same qualification is what makes the romances so vivid and
+thrilling; and they do not falter either in accessory or fact.</p>
+
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>The cloaks of his swashbucklering heroes are always the correct shade of
+scarlet; their rapiers, their swords, or their pistols are always rightly
+tuned, and their entrances and their exits correctly and most
+appropriately timed.</p>
+
+<p>When his characters represent the poverty of a tatterdemalion, they do it
+with a sincerity that is inimitable, and the lusty throatings of a
+D&#8217;Artagnan are never a hollow mockery of something they are not.</p>
+
+<p>Dumas drew his characters of the stage and his personages of the romances
+with the brilliance and assurance of a Velasquez, rather than with the
+finesse of a Praxiteles, and for that reason they live and introduce
+themselves as cosmopolitans, and are to be appreciated only as one studies
+or acquires something of the spirit from which they have been evolved.</p>
+
+<p>Of Dumas&#8217; own uproarious good nature many have written. Albert Vandam
+tells of a certain occasion when he went to call upon the novelist at St.
+Germain,&mdash;and he reckoned Dumas the most lovable and genial among all of
+his host of acquaintances in the great world of Paris,&mdash;that he overheard,
+as he was entering the study, &#8220;a loud burst of laughter.&#8221; &#8220;I had sooner
+wait until monsieur&#8217;s visitors are gone,&#8221; said he. &#8220;Monsieur has<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> no
+visitors,&#8221; said the servant. &#8220;Monsieur often laughs like that at his
+work.&#8221;</p>
+
+<p>Dumas as a man of affairs or as a politician was not the success that he
+was in the world of letters. His activities were great, and his enthusiasm
+for any turn of affairs with which he allied himself remarkable; but,
+whether he was <i>en voyage</i> on a whilom political mission, at work as
+&#8220;Director of Excavations&#8221; at Pompeii, or founding or conducting a new
+journal or a new playhouse, his talents were manifestly at a discount. In
+other words, he was singularly unfit for public life; he was not an
+organizer, nor had he executive ability, though he had not a little of the
+skill of prophecy and foresight as to many turns of fortune&#8217;s wheel with
+respect to world power and the comity of nations.</p>
+
+<p>Commenting upon the political state of Europe, he said: &#8220;Geographically,
+Prussia has the form of a serpent, and, like it, she appears to be asleep,
+in order to gain strength to swallow everything around her.&#8221; All of his
+prophecy was not fulfilled, to be sure, but a huge slice was fed into her
+maw from out of the body of France, and, looking at things at a time fifty
+years ahead of that of which Dumas wrote,&mdash;that is, before the
+Franco-Prussian War,&mdash;it would seem as though the serpent&#8217;s appetite was
+still unsatisfied.</p>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>In 1847, when Dumas took upon himself to wish for a seat in the
+government, he besought the support of the constituency of the borough in
+which he had lived&mdash;St. Germain. But St. Germain denied it him&mdash;&#8220;on moral
+grounds.&#8221; In the following year, when Louis-Philippe had abdicated, he
+made the attempt once again.</p>
+
+<p>The republican constituency of Joigny challenged him with respect to his
+title of Marquis de la Pailleterie, and his having been a secretary in the
+Orleans Bureau. The following is his reply&mdash;verbatim&mdash;as publicly
+delivered at a meeting of electors, and is given here as illustrating well
+the earnestness and devotion to a code which many Puritan and prudish
+moralists have themselves often ignored:</p>
+
+<p>&#8220;I was formerly called the Marquis de la Pailleterie, no doubt. It was my
+father&#8217;s name, and one of which I was very proud, being then unable to
+claim a glorious one of my own make. But at present, when I am somebody, I
+call myself Alexandre Dumas, and nothing more; and every one knows me,
+yourselves among the rest&mdash;you, you absolute nobodies, who have come here
+merely to boast, to-morrow, after having given me insult to-night, that
+you have known the great Dumas. If such were your avowed ambition, you
+could have<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> satisfied it without having failed in the common courtesies of
+gentlemen. There is no doubt, either, about my having been a secretary to
+the Duc d&#8217;Orleans, and that I have received many favours from his family.
+If you are ignorant of the meaning of the phrase, &#8216;The memories of the
+heart,&#8217; allow me, at least, to proclaim loudly that I am not, and that I
+entertain toward this family of royal blood all the devotion of an
+honourable man.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>That Dumas was ever accused of making use of the work of others, of
+borrowing ideas wherever he found them, and, indeed, of plagiarism
+itself,&mdash;which is the worst of all,&mdash;has been mentioned before, and the
+argument for or against is not intended to be continued here.</p>
+
+<p>Dumas himself has said much upon the subject in defence of his position,
+and the contemporary scribblers of the time have likewise had their
+say&mdash;and it was not brief; but of all that has been written and said, the
+following is pertinent and deliciously na&iuml;ve, and, coming from Dumas
+himself, has value:</p>
+
+<p>&#8220;One morning I had only just opened my eyes when my servant entered my
+bedroom and brought me a letter upon which was written the word <i>urgent</i>.
+He drew back the curtains; the weather&mdash;doubtless<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> by some mistake&mdash;was
+fine, and the brilliant sunshine entered the room like a conqueror. I
+rubbed my eyes and looked at the letter to see who had sent it, astonished
+at the same time that there should be only one. The handwriting was quite
+unknown to me. Having turned it over and over for a minute or two, trying
+to guess whose the writing was, I opened it and this is what I found:</p>
+
+<div class="blockquot">
+<p>&#8220;&#8216;<span class="smcap">Sir</span>:&mdash;I have read your &#8220;Three Musketeers,&#8221; being well to do, and
+having plenty of spare time on my hands&mdash;&#8217;</p>
+
+<p>&#8220;(&#8216;Lucky fellow!&#8217; said I; and I continued reading.)</p>
+
+<p>&#8220;&#8216;I admit that I found it fairly amusing; but, having plenty of time
+before me, I was curious enough to wish to know if you really did
+find them in the &#8220;Memoirs of M. de La F&egrave;re.&#8221; As I was living in
+Carcassonne, I wrote to one of my friends in Paris to go to the
+Biblioth&egrave;que Royale, and ask for these memoirs, and to write and let
+me know if you had really and truly borrowed your facts from them. My
+friend, whom I can trust, replied that you had copied them word for
+word, and that it is what you authors always do. So I give you fair
+notice, sir, that I have told people all about it <span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>at Carcassonne,
+and, if it occurs again, we shall cease subscribing to the <i>Si&egrave;cle</i>.</p>
+
+<p><span style="margin-left: 8em;">&#8220;&#8216;Yours sincerely,</span><br />
+<span style="margin-left: 12em;">&#8220;&#8216;&mdash;&mdash;.&#8217;</span></p></div>
+
+<p>&#8220;I rang the bell.</p>
+
+<p>&#8220;&#8216;If any more letters come for me to-day,&#8217; said I to the servant, &#8216;you
+will keep them back, and only give them to me sometime when I seem a bit
+too happy.&#8217;</p>
+
+<p>&#8220;&#8216;Manuscripts as well, sir?&#8217;</p>
+
+<p>&#8220;&#8216;Why do you ask that question?&#8217;</p>
+
+<p>&#8220;&#8216;Because some one has brought one this very moment.&#8217;</p>
+
+<p>&#8220;&#8216;Good! that is the last straw! Put it somewhere where it won&#8217;t be lost,
+but don&#8217;t tell me where.&#8217;</p>
+
+<p>&#8220;He put it on the mantelpiece, which proved that my servant was decidedly
+a man of intelligence.</p>
+
+<p>&#8220;It was half-past ten; I went to the window. As I have said, it was a
+beautiful day. It appeared as if the sun had won a permanent victory over
+the clouds. The passers-by all looked happy, or, at least, contented.</p>
+
+<p>&#8220;Like everybody else, I experienced a desire to take the air elsewhere
+than at my window, so I dressed, and went out.</p>
+
+<p>&#8220;As chance would have it&mdash;for when I go out<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> for a walk I don&#8217;t care
+whether it is in one street or another&mdash;as chance would have it, I say, I
+passed the Biblioth&egrave;que Royale.</p>
+
+<p>&#8220;I went in, and, as usual, found P&acirc;ris, who came up to me with a charming
+smile.</p>
+
+<p>&#8220;&#8216;Give me,&#8217; said I, &#8216;the &#8220;Memoirs of La F&egrave;re.&#8221;&#8217;</p>
+
+<p>&#8220;He looked at me for a moment as if he thought I was crazy; then, with the
+utmost gravity, he said, &#8216;You know very well they don&#8217;t exist, because you
+said yourself they did!&#8217;</p>
+
+<p>&#8220;His speech, though brief, was decidedly pithy.</p>
+
+<p>&#8220;By way of thanks I made P&acirc;ris a gift of the autograph I had received from
+Carcassonne.</p>
+
+<p>&#8220;When he had finished reading it, he said, &#8216;If it is any consolation to
+you to know it, you are not the first who has come to ask for the &#8220;Memoirs
+of La F&egrave;re&#8221;; I have already seen at least thirty people who came solely
+for that purpose, and no doubt they hate you for sending them on a fool&#8217;s
+errand.&#8217;</p>
+
+<p>&#8220;As I was in search of material for a novel, and as there are people who
+declare novels are to be found ready-made, I asked for the catalogue.</p>
+
+<p>&#8220;Of course, I did not discover anything.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Every one knows of Dumas&#8217; great fame as a gastronome and epicure; some
+recall, also, that he himself was a <i>cuisinier</i> of no mean abilities. How<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+far his capacities went in this direction, and how wide was his knowledge
+of the subject, can only be gleaned by a careful reading of his great
+&#8220;Dictionnaire de Cuisine.&#8221; Still further into the subject he may be
+supposed to have gone from the fact that he also published an inquiry, or
+an open letter, addressed to the <i>gourmands</i> of all countries, on the
+subject of mustard.</p>
+
+<p>It is an interesting subject, to be sure, but a trifling one for one of
+the world&#8217;s greatest writers to spend his time upon; say you, dear reader?
+Well! perhaps! But it is a most fascinating contribution to the literature
+of epicurism, and quite worth looking up and into. The history of the
+subtle spice is traced down through Biblical and Roman times to our own
+day, chronologically, etymologically, botanically, and practically. It
+will be, and doubtless has been, useful to other compilers of essays on
+good cheer.</p>
+
+<p>Whatever may be the subtle abilities which make the true romancer, or
+rather those which make his romances things of life and blood, they were
+possessed by Alexandre Dumas.</p>
+
+<p>Perhaps it is the more easy to construct a romantic play than it is to
+erect, from matter-of-fact components, a really engrossing romantic novel.
+Dumas&#8217; abilities seem to fit in with both varieties<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> alike, and if he did
+build to order, the result was in most cases no less successful than if
+evolved laboriously.</p>
+
+<p>It is a curious fact that many serial contributions&mdash;if we are to believe
+the literary gossip of the time&mdash;are only produced as the printer is
+waiting for copy. The formula is manifestly not a good one upon which to
+build, but it has been done, and successfully, by more writers than one,
+and with scarce a gap unbridged.</p>
+
+<p>Dickens did it,&mdash;if it is allowable to mention him here,&mdash;and Dumas
+himself did it,&mdash;many times,&mdash;and with a wonderful and, one may say,
+inspired facility, but then his facility, none the less than his vitality,
+made possible much that was not granted to the laborious Zola.</p>
+
+<p>Dumas was untiring to the very last. His was a case of being literally
+worked out&mdash;not worked to death, which is quite a different thing.</p>
+
+<p>It has been said by Dumas <i>fils</i> that in the latter years of the elder&#8217;s
+life he would sit for length upon length of time, pen in hand, and not a
+word would flow therefrom, ere the ink had dried.</p>
+
+<p>An interesting article on Dumas&#8217; last days appeared in <i>La Revue</i> in 1903.
+It dealt with the sadness and disappointments of Dumas&#8217; later days, in
+spite of which the impression conveyed of the great<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> novelist&#8217;s
+personality is very vivid, and he emerges from it much as his books would
+lead one to expect&mdash;a hearty, vigorous creature, surcharged with vitality,
+with desire to live and let live, a man possessed of almost equally
+prominent faults and virtues, and generous to a fault.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_64.jpg" alt="Alexandre Dumas, fils" /></div>
+<p>&nbsp;</p>
+
+<p>Money he had never been able to keep. He had said himself, at a time when
+he was earning a fortune, &#8220;I can keep everything but money. Money
+unfortunately always slips through my fingers.&#8221; The close of his life was
+a horrible struggle to make ends meet. When matters came to a crisis Dumas
+would pawn some of the valuable <i>objets d&#8217;art</i> he had collected in the
+opulent past, or ask his son for assistance. But, though the sum asked was
+always given, there were probably few things which the old man would not
+have preferred to this appeal to the younger author.</p>
+
+<p>As he grew old, Dumas <i>p&egrave;re</i> became almost timid in his attitude toward
+the son, whose disapproval had frequently found expression in advice and
+warning. But Dumas could not settle down, and he could not become careful.
+Neither of these things was in his nature, and there was consequently
+always some little undercurrent of friction between them. To the end of
+his days his money was anybody&#8217;s who liked to come and ask for it,<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> and
+nothing but the final clouding of his intellectual capacity could reduce
+his optimism. Then, it is true, he fell into a state of sustained
+depression. The idea that his reputation would not last haunted him.</p>
+
+<p>In 1870, when Dumas was already very ill, his son, anxious that he should
+not be in Paris during its investment by the Germans, took him to a house
+he had at Puys, near Dieppe. Here the great man rapidly sank, and, except
+at meal-times, passed his time in a state of heavy sleep, until a sudden
+attack of apoplexy finally seized him. He never rallied after it, and died
+upon the day the Prussian soldiers took possession of Dieppe.</p>
+
+<p>Many stories are rife of Dumas the prodigal. Some doubtless are true, many
+are not. Those which he fathers himself, we might well accept as being
+true. Surely he himself should know.</p>
+
+<p>The following incident which happened in the last days of his life
+certainly has the ring of truth about it.</p>
+
+<p>When in his last illness he left Paris for his son&#8217;s country house near
+Dieppe, he had but twenty francs, the total fortune of the man who had
+earned millions.</p>
+
+<p>On arriving at Puys, Dumas placed the coin on<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> his bedroom chimneypiece,
+and there it remained all through his illness.</p>
+
+<p>One day he was seated in his chair near the window, chatting with his son,
+when his eye fell on the gold piece.</p>
+
+<p>A recollection of the past crossed his mind.</p>
+
+<p>&#8220;Fifty years ago, when I went to Paris,&#8221; he said, &#8220;I had a louis. Why have
+people accused me of prodigality? I have always kept that louis.
+See&mdash;there it is.&#8221;</p>
+
+<p>And he showed his son the coin, smiling feebly as he did so.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+<h3>DUMAS&#8217; CONTEMPORARIES</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Among</span> those of the world&#8217;s great names in literature contemporary with
+Dumas, but who knew Paris ere he first descended upon it to try his
+fortune in its arena of letters, were Lamartine, who already, in 1820, had
+charmed his public with his &#8220;Meditations;&#8221; Hugo, who could claim but
+twenty years himself, but who had already sung his &#8220;Odes et Ballades,&#8221; and
+Chateaubriand.</p>
+
+<p>Souli&eacute; and De Vigny won their fame with poems and plays in the early
+twenties, De Musset and Ch&eacute;nier followed before a decade had passed, and
+Gautier was still serving his apprenticeship.</p>
+
+<p>It was the proud Goethe who said of these young men of the twenties, &#8220;They
+all come from Chateaubriand.&#8221; B&eacute;ranger, too, &#8220;the little man,&#8221; even though
+he was drawing on toward the prime of life, was also singing melodiously:
+it was his<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> <i>chansons</i>, it is said, that upset the Bourbon throne and
+made way for the &#8220;citizen-king.&#8221; Nodier, of fanciful and fantastic rhyme,
+was already at work, and M&eacute;rim&eacute;e had not yet taken up the administrative
+duties of overseeing the preserving process which at his instigation was,
+at the hands of a paternal government, being applied to the historical
+architectural monuments throughout France; a glory which it is to be
+feared has never been wholly granted to M&eacute;rim&eacute;e, as was his due.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_68.jpg" alt="" /></div>
+<p class="center">TWO FAMOUS CARICATURES OF ALEXANDRE DUMAS</p>
+<p>&nbsp;</p>
+
+<p>Guizot, the <i>b&ecirc;te noire</i> of the later Louis-Philippe, was actively writing
+from 1825 to 1830, and his antagonist, Thiers, was at the same period
+producing what Carlyle called the &#8220;voluminous and untrustworthy labours of
+a brisk little man in his way;&#8221; which recalls to mind the fact that
+Carlylean rant&mdash;like most of his prose&mdash;is a well-nigh insufferable thing.</p>
+
+<p>At this time Mignet, the historian, was hard at work, and St. Beauve had
+just deserted <i>materia medica</i> for literature. Michelet&#8217;s juvenile
+histories were a production of the time, while poor, unhonoured, and then
+unsung, Balzac was grinding out his pittance&mdash;in after years to grow into
+a monumental literary legacy&mdash;in a garret.</p>
+
+<p>Eug&egrave;ne Sue had not yet taken to literary pathways, and was scouring the
+seas as a naval surgeon.</p>
+
+<p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>The drama was prolific in names which we have since known as masters,
+Scribe, Hal&eacute;vy, and others.</p>
+
+<p>George Sand, too, was just beginning that grand literary life which opened
+with &#8220;Indiana&#8221; in 1832, and lasted until 1876. She, like so many of the
+great, whose name and fame, like Dumas&#8217; own, has been perpetuated by a
+monument in stone, the statue which was unveiled in the little town of her
+birth on the Indre, La Ch&acirc;tre, in 1903.</p>
+
+<p>Like Dumas, too, hers was a cyclopean industry, and so it followed that in
+the present twentieth century (in the year 1904), another and a more
+glorious memorial to France&#8217;s greatest woman writer was unveiled in the
+Garden of the Luxembourg.</p>
+
+<p>Among the women famous in the <i>monde</i> of Paris at the time of Dumas&#8217;
+arrival were Mesdames Desbordes-Valmore, Amable Tastu, and Delphine Gay.</p>
+
+<p>&#8220;For more than half a century this brilliant group of men and women
+sustained the world of ideas and poetry,&#8221; said Dumas, in his &#8220;M&eacute;moires,&#8221;
+&#8220;and I, too,&#8221; he continued, &#8220;have reached the same plane ... unaided by
+intrigue or coterie, and using none other than my own work as the
+stepping-stone in my pathway.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>Dumas cannot be said to have been niggardly with his praise of the work of
+others. He said of a sonnet of Arnault&#8217;s&mdash;&#8220;La Feuille&#8221;&mdash;that it was a
+masterpiece which an Andr&eacute; Ch&eacute;nier, a Lamartine, or a Hugo might have
+envied, and that for himself, not knowing what his &#8220;literary brothers&#8221;
+might have done, he would have given for it &#8220;any one of his dramas.&#8221;</p>
+
+<p>It was into the office of Arnault, who was chief of a department in the
+Universit&eacute;, that B&eacute;ranger took up his labours as a copying-clerk,&mdash;as did
+Dumas in later years,&mdash;and it was while here that B&eacute;ranger produced his
+first ballad, the &#8220;Roi d&#8217;Yvetot.&#8221;</p>
+
+<p>In 1851 Millet was at his height, if one considers what he had already
+achieved by his &#8220;great agrarian poems,&#8221; as they have been called. Gautier
+called them &#8220;Georgics in paint,&#8221; and such they undoubtedly were. Millet
+would hardly be called a Parisian; he was not of the life of the city, but
+rather of that of the countryside, by his having settled down at Barbizon
+in 1849, and practically never left it except to go to Paris on business.</p>
+
+<p>His life has been referred to as one of &#8220;sublime monotony,&#8221; but it was
+hardly that. It was a life devoted to the telling of a splendid story,
+that of<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> the land as contrasted with that of the paved city streets.</p>
+
+<p>Corot was a real Parisian, and it was only in his early life in the
+provinces that he felt the bitterness of life and longed for the
+flagstones of the quais, for the Tuileries, the Seine, and his beloved Rue
+de Bac, where he was born on 10th Thermidor, Year IV. (July 28, 1796).
+Corot early took to painting the scenes of the metropolis, as we learn
+from his biography, notably at the point along the river bank where the
+London steamer moors to-day. But these have disappeared; few or none of
+his juvenile efforts have come down to us.</p>
+
+<p>Corot returned to Paris, after many years spent in Rome, during the reign
+of Louis-Philippe, when affairs were beginning to stir themselves in
+literature and art. In 1839 his &#8220;Site d&#8217;Italie&#8221; and a &#8220;Soir&#8221; were shown at
+the annual Salon,&mdash;though, of course, he had already been an exhibitor
+there,&mdash;and inspired a sonnet of Th&eacute;ophile Gautier, which concludes:</p>
+
+<p class="poem">&#8220;Corot, ton nom modest, &eacute;crit dans un coin noir.&#8221;</p>
+
+<p>Corot&#8217;s pictures <i>were</i> unfortunately hung in the darkest corners&mdash;for
+fifteen years. As he himself has said, it was as if he were in the
+catacombs.<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> In 1855 Corot figured as one of the thirty-four judges
+appointed by Napoleon III. to make the awards for paintings exhibited in
+the world&#8217;s first Universal Exhibition. It is not remarked that Corot had
+any acquaintance or friendships with Dumas or with Victor Hugo, of whom he
+remarked, &#8220;This Victor Hugo seems to be pretty famous in literature.&#8221; He
+knew little of his contemporaries, and the hurly-burly knew less of him.
+He was devoted, however, to the genius of his superiors&mdash;as he doubtless
+thought them. Of Delacroix he said one day, &#8220;He is an eagle, and I am only
+a lark singing little songs in gray clouds.&#8221;</p>
+
+<p>A literary event of prime importance during the latter years of Dumas&#8217;
+life in Paris, when his own purse was growing thin, was the publication of
+the &#8220;Histoire de Jules C&eacute;sar,&#8221; written by Napoleon III.</p>
+
+<p>Nobody ever seems to have taken the second emperor seriously in any of his
+finer expressions of sentiment, and, as may be supposed, the publication
+of this immortal literary effort was the occasion of much sarcasm, banter,
+violent philippic, and sardonic criticism.</p>
+
+<p>Possibly the world was not waiting for this work, but royalty, no less
+than other great men, have their hobbies and their fads; Nero fiddled, and
+the<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> first Napoleon read novels and threw them forthwith out of the
+carriage window, so it was quite permissible that Napoleon III. should
+have perpetuated this life history of an emperor whom he may justly and
+truly have admired&mdash;perhaps envied, in a sort of impossible way.</p>
+
+<p>Already Louis Napoleon&#8217;s collection of writings was rather voluminous, so
+this came as no great surprise, and his literary reputation was really
+greater than that which had come to him since fate made him the master of
+one of the foremost nations of Europe.</p>
+
+<p>From his critics we learn that &#8220;he lacked the grace of a popular author;
+that he was quite incapable of interesting the reader by a charm of
+manner; and that his <i>style</i> was meagre, harsh, and grating, but
+epigrammatic.&#8221; No Frenchman could possibly be otherwise.</p>
+
+<p>Dumas relates, again, the story of Sir Walter Scott&#8217;s visit to Paris,
+seeking documents which should bear upon the reign of Napoleon. Dining
+with friends one evening, he was invited the next day to dine with Barras.
+But Scott shook his head. &#8220;I cannot dine with that man,&#8221; he replied. &#8220;I
+shall write evil of him, and people in Scotland would say that I have
+flung the dishes from his own table at his head.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>It is not recorded that Dumas&#8217; knowledge of swordsmanship was based on
+practical experience, but certainly no more scientific sword-play of
+<i>passe</i> and <i>touche</i> has been put into words than that wonderful attack
+and counter-attack in the opening pages of &#8220;Les Trois Mousquetaires.&#8221;</p>
+
+<p>Of the <i>duel d&#8217;honneur</i> there is less to be said, though Dumas more than
+once sought to reconcile estranged and impetuous spirits who would have
+run each other through, either by leaden bullet or the sword. A notable
+instance of this was in the memorable <i>affaire</i> between Louis Blanc of
+<i>L&#8217;Homme-Libre</i> and Dujarrier-Beauvallon of <i>La Presse</i>. The latter told
+Dumas that he had no alternative but to fight, though he went like a lamb
+to the slaughter, and had no knowledge of the <i>code</i> nor any skill with
+weapons.</p>
+
+<p>Dumas <i>p&egrave;re</i> was implored by the younger Dumas&mdash;both of whom took
+Dujarrier&#8217;s interests much to heart&mdash;to go and see Grisier and claim his
+intervention. &#8220;I cannot do it,&#8221; said the elder; &#8220;the first and foremost
+thing to do is to safeguard his reputation, which is the more precious
+because it is his first duel.&#8221; The Grisier referred to was the great
+master of fence of the time who was immortalized by Dumas in his &#8220;Ma&icirc;tre
+d&#8217;Armes.&#8221;</p>
+
+<p>Dumas himself is acknowledged, however, on one<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> occasion, at least, to
+have acted as second&mdash;co-jointly with General Fleury&mdash;in an <i>affaire</i>
+which, happily, never came off.</p>
+
+<p>It was this Blanc-Dujarrier duel which brought into further prominent
+notice that most remarkable and quasi-wonderful woman, Lola Montez; that
+daughter of a Spaniard and a Creole, a native of Limerick, pupil of a
+boarding-school at Bath, and one-time resident of Seville; to which may be
+added, on the account of Lord Malmesbury, &#8220;The woman who in Munich set
+fire to the magazine of revolution which was ready to burst forth all over
+Europe.&#8221;</p>
+
+<p>She herself said that she had also lived in Calcutta as the wife of an
+officer in the employ of the East India Company; had at one time been
+reduced to singing in the streets at Brussels; had danced at the Italian
+Opera in London,&mdash;&#8220;not much, but as well as half the ugly wooden women who
+were there,&#8221;&mdash;and had failed as a dancer in Warsaw.</p>
+
+<p>&#8220;This illiterate schemer,&#8221; says Vandam, &#8220;who probably knew nothing of
+geography or history, had pretty well the Almanach de Gotha by heart.&#8221;
+&#8220;Why did I not come earlier to Paris?&#8221; she once said. &#8220;What was the good?
+There was a king there bourgeois to his finger-nails, tight-fisted
+<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>besides, and notoriously the most moral and the best father in all the
+world.&#8221;</p>
+
+<p>This woman, it seems, was a beneficiary in the testament of Dujarrier, who
+died as a result of his duel, to the extent of eighteen shares in the
+Th&eacute;&acirc;tre du Palais Royal, and in the trial which followed at Rouen, at
+which were present all shades and degrees of literary and professional
+people, Dumas, Gustave Flaubert, and others, she insisted upon appearing
+as a witness, for no reason whatever, apparently, than that of further
+notoriety. &#8220;Six months from this time,&#8221; as one learns from Vandam, &#8220;her
+name was almost forgotten by all of us except Alexandre Dumas, who once
+and again alluded to her.&#8221; &#8220;Though far from superstitious, Dumas, who had
+been as much smitten with her as most of her admirers, avowed that he was
+glad that she had disappeared. &#8216;She has the evil eye,&#8217; said he, &#8216;and is
+sure to bring bad luck to any one who closely links his destiny with
+hers.&#8217;&#8221;</p>
+
+<p>There is no question but that Dumas was right, for she afterward&mdash;to
+mention but two instances of her remarkably active career&mdash;brought
+disaster &#8220;most unkind&#8221; upon Louis I. of Bavaria; committed bigamy with an
+English officer who was drowned at Lisbon; and, whether in the guise of<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+lovers or husbands, all, truly, who became connected with her met with
+almost immediate disaster.</p>
+
+<p>The mere mention of Lola Montez brings to mind another woman of the same
+category, though different in character, Alphonsine Plessis, more
+popularly known as La Dame aux Cam&eacute;lias. She died in 1847, and her name
+was not Marie or Margu&eacute;rite Duplessis, but as above written.</p>
+
+<p>Dumas <i>fils</i> in his play did not idealize Alphonsine Plessis&#8217; character;
+indeed, Dumas <i>p&egrave;re</i> said that he did not even enlarge or exaggerate any
+incident&mdash;all of which was common property in the <i>demi-monde</i>&mdash;&#8220;save that
+he ascribed her death to any cause but the right one.&#8221; &#8220;I know he made use
+of it,&#8221; said the father, &#8220;but he showed the malady aggravated by Duval&#8217;s
+desertion.&#8221;</p>
+
+<p>We learn that the elder Dumas &#8220;wept like a baby&#8221; over the reading of his
+son&#8217;s play. But his tears did not drown his critical faculty. &#8220;At the
+beginning of the third act,&#8221; said Dumas <i>p&egrave;re</i>, &#8220;I was wondering how
+Alexandre would get his Margu&eacute;rite back to town, ... but the way Alexandre
+got out of the difficulty proves that he is my son, every inch of him, and
+at the very outset of his career he is a better dramatist than I am ever
+likely to be.&#8221;</p>
+
+<p>&#8220;Alphonsine Plessis was decidedly a real <span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>personage, but not an ordinary
+one in her walk of life,&#8221; said Doctor V&eacute;ron. &#8220;A woman of her refinement
+might not have been impossible in a former day, because the grisette&mdash;and
+subsequently the <i>femme entretenue</i>&mdash;was not then even surmised. She
+interests me much; she is the best dressed woman in Paris, she neither
+conceals nor hides her vices, and she does not continually hint about
+money; in short, she is wonderful.&#8221;</p>
+
+<p>&#8220;La Dame aux Cam&eacute;lias&#8221; appeared within eighteen months of the actual death
+of the heroine, and went into every one&#8217;s hands, interest being whetted
+meanwhile by the recent event, and yet more by much gossip&mdash;scandal if you
+will&mdash;which universally appeared in the Paris press. Her pedigree was
+evolved and diagnosed by Count G. de Contades in a French bibliographical
+journal, <i>Le Livre</i>, which showed that she was descended from a
+&#8220;<i>gu&eacute;nuchetonne</i>&#8221; (slattern) of Long&eacute;, in the canton of Brionze, near
+Alen&ccedil;on; a predilection which the elder Dumas himself had previously put
+forth when he stated that, &#8220;I am certain that one might find taint either
+on the father&#8217;s side, or on the mother&#8217;s, probably on the former&#8217;s, but
+more probably still on both.&#8221;</p>
+
+<p>The following eulogy, extracted from a letter written to Dumas <i>fils</i> by
+Victor Hugo upon the<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> occasion of the inhumation of the ashes of Alexandre
+Dumas at Villers-Cotterets, whither they were removed from Puits, shows
+plainly the esteem in which his literary abilities were held by the more
+sober-minded of his compeers:</p>
+
+<div class="blockquot"><p>&#8220;<span class="smcap">Mon cher Confr&egrave;re</span>:&mdash;I learn from the papers of the funeral of
+Alexandre Dumas at Villers-Cotterets.... It is with regret that I am
+unable to attend.... But I am with you in my heart.... What I would
+say, let me write.... No popularity of the past century has equalled
+that of Alexandre Dumas. His successes were more than successes: they
+were triumphs.... The name of Alexandre Dumas is more than &#8216;Fran&ccedil;ais,
+il est Europ&eacute;en;&#8217; and it is more than European, it is universal. His
+theatre has been given publicity in all lands, and his romances have
+been translated into all tongues. Alexandre Dumas was one of those
+men we can call the sowers of civilization.... Alexandre Dumas is
+seducing, fascinating, interesting, amusing, and informing.... All
+the emotions, the most pathetic, all the irony, all the comedy, all
+the analysis of romance, and all the intuition of history are found
+in the supreme works constructed by this great and vigorous
+architect.</p>
+
+<p>&#8220;... His spirit was capable of all the miracles<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> he performed; this
+he bequeathed and this survives.... Your renown but continues his
+glory.</p>
+
+<p>&#8220;... Your father and I were young together.... He was a grand and
+good friend.... I had not seen him since 1857.... As I entered Paris
+Alexandre Dumas was leaving. I did not have even a parting shake of
+the hand.</p>
+
+<p>&#8220;The visit which he made me in my exile I will some day return to his
+tomb.</p>
+
+<p>&#8220;<i>Cher confr&egrave;re, fils de mon ami, je vous embrasse.</i></p>
+
+<p><span style="margin-left: 8em;">&#8220;<span class="smcap">Victor Hugo.</span>&#8221;</span></p></div>
+
+<p>Of Dumas, Charles Reade said: &#8220;He has never been properly appreciated; he
+is the prince of dramatists, the king of romancists, and the emperor of
+good fellows.&#8221;</p>
+
+<p>Dumas <i>fils</i> he thought a &#8220;vinegar-blooded iconoclast&mdash;shrewd, clever,
+audacious, introspective, and mathematically logical.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>The Cimeti&egrave;re du P&egrave;re La Chaise has a contemporary interest with the names
+of many who were contemporaries of Dumas in the life and letters of his
+day.</p>
+
+<p>Of course, sentimental interest first attaches itself to the Gothic
+canopy&mdash;built from the fragments of the convent of Paraclet&mdash;which
+enshrines the<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> remains of Abelard and Helo&iuml;se (1142-64), and this perhaps
+is as it should be, but for those who are conversant with the life of
+Paris of Dumas&#8217; day, this most &#8220;famous resting-place&#8221; has far more
+interest because of its shelter given to so many of Dumas&#8217; contemporaries
+and friends.</p>
+
+<p>Scribe, who was buried here 1861; Michelet, d. 1874; Delphine Cambac&eacute;r&egrave;s,
+1867; Lachambeaudie, 1872; Soulie, 1847; Balzac, 1850; Ch. Nodier, 1844;
+C. Delavigne, 1843; Delacroix, the painter, 1865; Talma, the tragedian,
+1826; Boieldieu, the composer, 1834; Chopin, 1849; Herold, 1833; General
+Foy, 1825; David d&#8217;Angers, 1856; Hugo, 1828 (the father of Victor Hugo);
+David, the painter, 1825; Alfred de Musset, 1857; Rossini, 1868.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 344px; height: 500px;"><img src="images/fp_82.jpg" alt="" /></div>
+<p class="center">TOMB OF ABELARD AND H&Eacute;LO&Iuml;SE</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+<h3>THE PARIS OF DUMAS</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Dumas&#8217;</span> real descent upon the Paris of letters and art was in 1823, when he
+had given up his situation in the notary&#8217;s office at Cr&eacute;py, and after the
+eventful holiday journey of a few weeks before. His own account of this,
+his fourth entrance into the city, states that he was &#8220;landed from the
+coach at five <span class="smcaplc">A. M.</span> in the Rue Bouloi, No. 9. It was Sunday morning, and
+Bourbon Paris was very gloomy on a Sunday.&#8221;</p>
+
+<p>Within a short time of his arrival the young romancer was making calls, of
+a nature which he hoped would provide him some sort of employment until he
+should make his way in letters, upon many bearers of famous Bourbon names
+who lived in the Faubourgs St. Germain and St. Honor&eacute;&mdash;all friends and
+compatriots of his father.</p>
+
+<p>He had brought with him letters formerly written to his father, and hoped
+to use them as a means<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> of introduction. He approached Marshal Jourdain,
+General Sebastiani, the Duc de Bellune, and others, but it was not until
+he presented himself to General Foy, at 64 Rue du Mont Blanc,&mdash;the deputy
+for his department,&mdash;that anything to his benefit resulted.</p>
+
+<p>Finally, through the kindly aid of General Foy, Dumas&mdash;son of a republican
+general though he was&mdash;found himself seated upon a clerk&#8217;s stool, quill in
+hand, writing out dictation at the secretary&#8217;s bureau of the Duc
+d&#8217;Orleans.</p>
+
+<p>&#8220;I then set about to look for lodgings,&#8221; said Dumas, &#8220;and, after going up
+and down many staircases, I came to a halt in a little room on a fourth
+story, which belonged to that immense pile known as the &#8216;P&acirc;t&eacute; des
+Italiens.&#8217; The room looked out on the courtyard, and I was to have it for
+one hundred and twenty francs per annum.&#8221;</p>
+
+<p>From that time on Dumas may be said to have known Paris intimately&mdash;its
+life, its letters, its hotels and restaurants, its theatres, its salons,
+and its boulevards.</p>
+
+<p>So well did he know it that he became a part and parcel of it.</p>
+
+<p>His literary affairs and relations are dealt with elsewhere, but the
+various aspects of the social and economic life of Paris at the time Dumas
+knew <span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>its very pulse-beats must be gleaned from various contemporary
+sources.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_84.jpg" alt="General Foy's Residence" /></div>
+<p>&nbsp;</p>
+
+<p>The real Paris which Dumas knew&mdash;the Paris of the Second Empire&mdash;exists no
+more. The order of things changeth in all but the conduct of the stars,
+and Paris, more than any other centre of activity, scintillates and
+fluctuates like the changings of the money-markets.</p>
+
+<p>The life that Dumas lived, so far as it has no bearing on his literary
+labours or the evolving of his characters, is quite another affair from
+that of his yearly round of work.</p>
+
+<p>He knew intimately all the gay world of Paris, and fresh echoes of the
+part he played therein are being continually presented to us.</p>
+
+<p>He knew, also, quite as intimately, certain political and social movements
+which took place around about him, in which he himself had no part.</p>
+
+<p>It was in the fifties of the nineteenth century that Paris first became
+what one might call a coherent mass. This was before the days of the
+application of the adjective &#8220;Greater&#8221; to the areas of municipalities.
+Since then we have had, of course, a &#8220;Greater Paris&#8221; as we have a &#8220;Greater
+London&#8221; and a &#8220;Greater New York,&#8221; but at the commencement of the Second
+Empire (1852) there sprang into being,&mdash;&#8220;jumped at one&#8217;s eyes,&#8221; as the
+French<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> say,&mdash;when viewed from the heights of the towers of Notre Dame, an
+immense panorama, which showed the results of a prodigious development,
+radiating far into the distance, from the common centre of the <i>Ile de la
+Cit&eacute;</i> and the still more ancient <i>Lut&egrave;ce</i>.</p>
+
+<p>Up to the construction of the present fortifications,&mdash;under
+Louis-Philippe,&mdash;Paris had been surrounded, at its outer confines, by a
+simple <i>octroi</i> barrier of about twenty-five kilometres in circumference,
+and pierced by fifty-four entrances. Since 1860 this wall has been raised
+and the limits of what might be called Paris proper have been extended up
+to the fortified lines.</p>
+
+<p>This fortification wall was thirty-four kilometres in length; was
+strengthened by ninety-four bastions, and surrounded and supported by
+thirteen detached forts. Sixty-five openings gave access to the inner
+city, by which the roadways, waterways, and railways entered. These were
+further distinguished by classification as follows: <i>portes</i>&mdash;of which
+there were fifty; <i>poternes</i>&mdash;of which there were five; and <i>passages</i>&mdash;of
+which there were ten. Nine railways entered the city, and the &#8220;<i>Ceinture</i>&#8221;
+or girdle railway, which was to bind the various <i>gares</i>, was already
+conceived.</p>
+
+<p>At this time, too, the Quais received marked <span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>attention and development;
+trees were planted along the streets which bordered upon them, and a vast
+system of sewerage was planned which became&mdash;and endures until to-day&mdash;one
+of the sights of Paris, for those who take pleasure in such unsavoury
+amusements.</p>
+
+<p>Lighting by gas was greatly improved, and street-lamps were largely
+multiplied, with the result that Paris became known for the first time as
+&#8220;<i>La Ville Lumi&egrave;re</i>.&#8221;</p>
+
+<p>A score or more of villages, or <i>bourgs</i>, before 1860, were between the
+limits of these two barriers, but were at that time united by the <i>loi
+d&#8217;annexion</i>, and so &#8220;Greater Paris&#8221; came into being.</p>
+
+<p>The principle <i>bourgs</i> which lost their identity, which, at the same time
+is, in a way, yet preserved, were Auteuil, Passy, les Ternes, Batignolles,
+Montmartre, la Chapelle, la Villette, Belleville, M&eacute;nilmontant, Charenton,
+and Bercy; and thus the population of Paris grew, as in the twinkling of
+an eye, from twelve hundred thousand to sixteen hundred thousand; and its
+superficial area from thirty-four hundred <i>hectares</i> to more than eight
+thousand&mdash;a <i>hectare</i> being about the equivalent of two and a half acres.</p>
+
+<p>During the period of the &#8220;Restoration,&#8221; which extended from the end of the
+reign of the great<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> Napoleon to the coming of Louis-Philippe (1814-30),
+Paris may be said to have been in, or at least was at the beginning of,
+its golden age of prosperity.</p>
+
+<p>In a way the era was somewhat inglorious, but in spite of liberal and
+commonplace opinion, there was made an earnest effort to again secure the
+pride of place for French letters and arts; and it was then that the
+romantic school, with Dumas at its very head, attained its first
+importance.</p>
+
+<p>It was not, however, until Louis-Philippe came into power that civic
+improvements made any notable progress, though the Pont des Invalides had
+been built, and gas-lamps, omnibuses, and sidewalks, had been introduced
+just previously.</p>
+
+<p>Under Louis-Philippe were completed the &Eacute;glise de la Madeleine and the Arc
+de Triomphe d&#8217;Etoile. The Obelisk,&mdash;a gift from Mohammed Ali, Viceroy of
+Egypt, to Louis-Philippe,&mdash;the Colonne de Juillet, and the Ponts
+Louis-Philippe and du Carrousel were built, as well as the modern
+fortifications of Paris, with their detached forts of Mont Valerien, Ivry,
+Charenton, Nogent, etc.</p>
+
+<p>There existed also the encircling boulevards just within the
+fortifications, and yet another parallel series on the north, beginning at
+the Madeleine and extending to the Colonne de Juillet.</p>
+
+<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>It was not, however, until the Second Republic and the Second Empire of
+Napoleon III. that a hitherto unparallelled transformation was undertaken,
+and there sprung into existence still more broad boulevards and spacious
+squares, and many palatial civic and private establishments, the Bourse,
+the New Opera, and several theatres, the Ceinture Railway, and the Bois de
+Boulogne and the Bois de Vincennes.</p>
+
+<p>By this time Dumas&#8217; activities were so great, or at least the product
+thereof was so great, that even his intimate knowledge of French life of a
+more heroic day could not furnish him all the material which he desired.</p>
+
+<p>It was then that he produced those essentially modern stories of life in
+Paris of that day, which, slight though they are as compared with the
+longer romances, are best represented by the &#8220;Corsican Brothers,&#8221; &#8220;Captain
+Pamphile,&#8221; and &#8220;Gabriel Lambert.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Among the buildings at this time pulled down, on the Place du Carrousel,
+preparatory to the termination of the Louvre, was the H&ocirc;tel Longueville,
+the residence of the beautiful duchess of that name, celebrated for her
+support of the Fronde and her gallantries, as much as for her beauty.
+Dumas<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> would have revelled in the following incident as the basis of a
+tale. In the arched roof of one of the cellars of the duchess&#8217; h&ocirc;tel two
+skeletons of a very large size and in a perfect state of preservation were
+discovered, which have since been the object of many discussions on the
+part of the antiquarians, but <i>adhuc sub judice lis est</i>. Another
+discovery was made close by the skeletons, which is more interesting from
+a literary point of view; namely, that of a box, in carved steel,
+embellished with gilded brass knobs, and containing several papers. Among
+them was an amatory epistle in verse, from the Prince de Marsillac to the
+fair duchess. The other papers were letters relating to the state of
+affairs at that time; some from the hand of the celebrated Turenne, with
+memorandums, and of the Prince de Conti, &#8220;of great value to autograph
+collectors,&#8221; said the newspaper accounts of the time, but assuredly of
+still more value to historians, or even novelists.</p>
+
+<p>At this time Paris was peopled with many hundreds&mdash;perhaps thousands&mdash;of
+<i>mauvais sujets</i>, and frequent robberies and nightly outrages were more
+numerous than ever. The government at last hit on the plan of sending to
+the <i>bagnes</i> of Toulon and Brest for several of the turnkeys and gaolers
+of those great convict <i>d&eacute;p&ocirc;ts</i>, to whom the features<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> of all their former
+prisoners were perfectly known. These functionaries, accompanied by a
+policeman in plain clothes, perambulated every part of Paris by day, and
+by night frequented all the theatres, from the Grand Op&eacute;ra downward, the
+low <i>caf&eacute;s</i> and wine-shops. It appears that more than four hundred of
+these desperadoes were recognized and retransferred to their old quarters
+at Toulon. Some of these worthies had been carrying on schemes of
+swindling on a colossal scale, and more than one is described as having
+entered into large speculations on the Bourse. Perhaps it was from some
+such circumstance as this that Dumas evolved that wonderful narrative of
+the life of a forger, &#8220;Gabriel Lambert.&#8221; One of the most noted in the
+craft was known by the <i>soubriquet</i> of Pierre Mandrin, the name of that
+<i>c&eacute;l&eacute;br&eacute;</i> being conferred on account of his superiority and skill in
+assuming disguises. When arrested he was figuring as a Polish count, and
+covered with expensive rings and jewelry. The career of this ruffian is
+interesting. In 1839, while undergoing an imprisonment of two years for
+robbery, he attempted to make his escape by murdering the gaoler, but
+failed, however, and was sent to the galleys at Toulon for twenty years.
+In 1848 he did escape from Brest, and, notwithstanding the greatest
+exertions on the part of the police,<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> he succeeded in crossing the whole
+of France and gaining Belgium, where he remained for some time. Owing to
+the persecutions of the Belgian police, he subsequently returned to
+France. He was so unfortunate as to be captured in the very act of
+breaking into a house at Besan&ccedil;on, but his prodigious activity enabled him
+once again to escape while on his way to prison, and he came to Paris.
+Being possessed of some money, he resolved to abandon his evil courses,
+and set up a greengrocer&#8217;s shop in the Rue Rambuteau, which went on
+thrivingly for some time. But such an inactive life was insupportable to
+him, and he soon resumed his former exciting pursuits. Several robberies
+committed with consummate skill soon informed the police of the presence
+in Paris of some great master of the art of Mercury. The most experienced
+officers were accordingly sent out, but they made no capture until one of
+the Toulon gaolers fancied he recollected the convict under the features
+of an elegantly attired <i>lion</i> on the Boulevard des Italiens. A few hours
+afterward the luckless <i>&eacute;chapp&eacute;</i> was safely lodged at the Conciergerie. At
+his lodgings, besides the usual housebreaking implements, a complete
+assortment of costumes of every kind was discovered&mdash;from that of the
+dandy of the first water to the blouse of the artisan.</p>
+
+<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>There is something more than a morbid interest which attaches itself to
+the former homes and haunts of a great author or artist. The emotion is
+something akin to sentiment, to be sure, but it is pardonable; far more so
+than the contemplation of many more popular and notorious places.</p>
+
+<p>He who would follow the footsteps of Alexandre Dumas about Paris must
+either be fleet of foot, or one who can sustain a long march. At any rate,
+the progress will take a considerable time.</p>
+
+<p>It is impossible to say in how many places he lived, though one gathers
+from the &#8220;M&eacute;moires,&#8221; and from contemporary information, that they numbered
+many score, and the uncharitable have further said that he found it more
+economical to move than to pay his rents. Reprehensible as this practice
+may be, Dumas was no single exponent of it&mdash;among artists and authors; and
+above all in his case, as we know, it resulted from imprudence and
+ofttimes misplaced confidence and generosity.</p>
+
+<p>One of Dumas&#8217; early homes in Paris, jocularly called by him &#8220;La P&acirc;t&eacute;
+d&#8217;Italie,&#8221; was situated in that famous centre of unconventionality, the
+Boulevard des Italiens, a typical tree-shaded and caf&eacute;-lined boulevard.</p>
+
+<p>Its name was obviously acquired from its resemblance to, or suggestion of
+being constructed of,<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> that mastic which is known in Germany as noodles,
+in Italy as macaroni, and in English-speaking countries as dough.</p>
+
+<p>To-day the structure, as it then was, exists no more, though the present
+edifice at the corner of the Rue Louis le Grand, opposite the vaudeville
+theatre, has been assuredly stated as in no wise differing in general
+appearance from its prototype, and, as it is after the same ginger-cake
+style of architecture, it will serve its purpose.</p>
+
+<p>Albert Vandam, in &#8220;An Englishman in Paris,&#8221; that remarkable book of
+reminiscence whose authorship was so much in doubt when the work was first
+published, devoted a whole chapter to the intimacies of Dumas <i>p&egrave;re</i>;
+indeed, nearly every feature and character of prominence in the great
+world of Paris&mdash;at the time of which he writes&mdash;strides through the pages
+of this remarkably illuminating book, in a manner which is unequalled by
+any conventional volume of &#8220;Reminiscence,&#8221; &#8220;Observations,&#8221; or &#8220;Memoirs&#8221;
+yet written in the English language, dealing with the life of Paris&mdash;or,
+for that matter, of any other capital.</p>
+
+<p>His account, also, of a &#8220;literary caf&eacute;&#8221; of the Paris of the forties could
+only have been written by one who knew the life intimately, and, so far as
+Dumas&#8217; acquaintances and contemporaries are<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> concerned, Vandam&#8217;s book
+throws many additional side-lights on an aspect which of itself lies in no
+perceptible shadow.</p>
+
+<p>Even in those days the &#8220;boulevards&#8221;&mdash;the popular resort of the men of
+letters, artists, and musical folk&mdash;meant, as it does to-day, a somewhat
+restricted area in the immediate neighbourhood of the present Opera. At
+the corner of the Rue Lafitte was a tobacconist&#8217;s shop, whose genius was a
+&#8220;splendid creature,&#8221; of whom Alfred de Musset became so enamoured that his
+friends feared for an &#8220;imprudence on his part.&#8221; The various elements of
+society and cliques had their favourite resorts and rendezvous; the actors
+under the trees in the courtyard of the Palais Royal; the <i>ouvrier</i> and
+his family meandered in the Champs Elys&eacute;es or journeyed countryward to
+Grenelle; while the soldiery mostly repaired to La Plaine de St. Denis.</p>
+
+<p>A sister to Thiers kept a small dining establishment in the Rue Drouet,
+and many journalistic and political gatherings were held at her <i>tables
+d&#8217;h&ocirc;te</i>. When asked whether her delicious pheasants were of her
+illustrious brother&#8217;s shooting, she shook her head, and replied: &#8220;No, M.
+the President of the Council has not the honour to supply my
+establishment.&#8221;</p>
+
+<p>Bohemia, as Paris best knew it in the fifties, was<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> not that pleasant land
+which lies between the Moravian and the Giant Mountains; neither were the
+Bohemians of Paris a Slavonic or Teutonic people of a strange, nomad race.</p>
+
+<p>But the history of the Bohemia of arts and letters&mdash;which rose to its
+greatest and most prophetic heights in the Paris of the nineteenth
+century&mdash;would no doubt prove to be as extensive a work as Buckle&#8217;s
+&#8220;History of Civilization,&#8221; though the recitation of tenets and principles
+of one would be the inevitable reverse of the other.</p>
+
+<p>The intellectual Bohemian&mdash;the artist, or the man of letters&mdash;has
+something in his make-up of the gipsy&#8217;s love of the open road; the
+vagabond who instinctively rebels against the established rules of
+society, more because they are established than for any other reason.</p>
+
+<p>Henri M&uuml;rger is commonly supposed to have popularized the &#8220;Bohemia&#8221; of
+arts and letters, and it is to him we owe perhaps the most graphic
+pictures of the life which held forth in the <i>Quartier Latin</i>, notorious
+for centuries for its lack of discipline and its defiance of the laws of
+Church, state, and society. It was the very nursery of open thought and
+liberty against absolutism and the conventional proprieties.</p>
+
+<p>Gustave Nadaud described this &#8220;unknown land&#8221;<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> in subtle verse, which loses
+not a little in attempted paraphrase:</p>
+
+<p class="poem">&#8220;There stands behind Ste. Genevi&egrave;ve,<br />
+A city where no fancy paves<br />
+<span style="margin-left: 1em;">With gold the narrow streets,</span><br />
+But jovial youth, the landlady<br />
+On gloomy stairs, in attic high,<br />
+Gay hope, her tenant, meets.<br />
+<span style="margin-left: 2em;"><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span></span><br />
+&#8217;Twas there that the Pays Latin stood,<br />
+&#8217;Twas there the world was <i>really</i> good,<br />
+<span style="margin-left: 1em;">&#8217;Twas there that she was gay.&#8221;</span></p>
+
+<p>Of the freedom and the unconventionally of the life of the Bohemian world
+of Paris, where the lives of literature and art blended in an almost
+imperceptible manner, and the gay indifference of its inhabitants, one has
+but to recall the incident where George Sand went to the studio of the
+painter Delacroix to tell him that she had sad news for him; that she
+could never love him; and more of the same sort. &#8220;Indeed,&#8221; said Delacroix,
+who kept on painting.&mdash;&#8220;You are angry with me, are you not? You will never
+forgive me?&#8221;&mdash;&#8220;Certainly I will,&#8221; said the painter, who was still at his
+work, &#8220;but I&#8217;ve got a bit of sky here that has caused me a deal of trouble
+and is just coming right. Go away, or sit down, and I will be through<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> in
+ten minutes.&#8221; She went, and of course did not return, and so the <i>affaire</i>
+closed.</p>
+
+<p>Dumas was hardly of the Pays Latin. He had little in common with the
+Bohemianism of the <i>poseur</i>, and the Bohemia of letters and art has been
+largely made up of that sort of thing.</p>
+
+<p>More particularly Dumas&#8217; life was that of the boulevards, of the
+journalist, of tremendous energy and output rather than that of the
+<i>dilettante</i>, and so he has but little interest in the south bank of the
+Seine.</p>
+
+<hr style="width: 25%;" />
+
+<p>Michelet, while proclaiming loudly for French literature and life in <i>Le
+Peuple</i>, published in 1846, desponds somewhat of his country from the fact
+that the overwhelming genius of the popular novelists of that day&mdash;and who
+shall not say since then, as well&mdash;have sought their models, too often, in
+dingy cabarets, vile dens of iniquity, or even in the prisons themselves.</p>
+
+<p>He said: &#8220;This mania of slandering oneself, of exhibiting one&#8217;s sores, and
+going, as it were, to look for shame, will be mortal in the course of
+time.&#8221;</p>
+
+<p>This may, to a great extent, have been true then&mdash;and is true
+to-day&mdash;manifestly, but no lover of the beautiful ought to condemn a
+noisome flower if but its buds were beautiful, and Paris&mdash;the Paris<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> of
+the Restoration, the Empire, or the Republic&mdash;is none the worse in the
+eyes of the world because of the iniquities which exist in every large
+centre of population, where creeds and intellects of all shades and
+capacities are herded together.</p>
+
+<p>The French novelist, it is true, can be very sordid and banal, but he can
+be as childlike and bland as an unsophisticated young girl&mdash;when he has a
+mind to.</p>
+
+<p>Dumas&#8217; novels were not lacking in vigour, valour, or action, and he wrote
+mostly of romantic times; so Michelet could not have referred to him.
+Perhaps he had the &#8220;Mysteries of Paris&#8221; or &#8220;The Wandering Jew&#8221; in mind,
+whose author certainly did give full measure of sordid detail; but then,
+Sue has been accused before now as not presenting a strictly truthful
+picture.</p>
+
+<p>So much for the presentation of the <i>tableaux</i>. But what about the actual
+condition of the people at the time?</p>
+
+<p>Michelet&#8217;s interest in Europe was centred on France and confined to <i>le
+peuple</i>; a term in which he ofttimes included the <i>bourgeois</i>, as well he
+might, though he more often regarded those who worked with their hands. He
+repeatedly says: &#8220;I myself have been one of those workmen, and, although
+I<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> have risen to a different class, I retain the sympathies of my early
+conditions.&#8221;</p>
+
+<p>Michelet&#8217;s judgment was quite independent and original when he compared
+the different classes; and he had a decided preference for that section
+which cultivates the soil, though by no means did he neglect those engaged
+in trade and manufacture. The <i>ouvrier industriel</i> was as much entitled to
+respect as the labourer in the fields, or even the small tenant-farmer. He
+regretted, of course, the competition which turned <i>industrialisme</i> into a
+cut-throat policy. He furthermore had this to say concerning foreign
+trade:</p>
+
+<p>&#8220;Alsace and Lyons have conquered art and science to achieve beauty for
+others.... The &#8216;fairy of Paris&#8217; (the <i>modiste</i>) meets, from minute to
+minute, the most unexpected flights of fancy&mdash;and she <i>or he</i> does to-day,
+be it recalled. <i>Les &eacute;trangers</i> come in spite of themselves, and they buy
+of her (France); <i>ils ach&egrave;tent</i>&mdash;but what?&mdash;patterns, and then go basely
+home and copy them, to the loss, <i>but to the glory</i>, of France.</p>
+
+<p>&#8220;The Englishman or the German buys a few pieces of goods at Paris or
+Lyons; just as in letters France writes and Belgium sells.&#8221;</p>
+
+<p>On the whole, Michelet thought that the population was more successful in
+tilling the soil than<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> in the marts of the world; and there is this to be
+said, there is no question but what France is a self-contained country,
+though its arts have gone forth into the world and influenced all nations.</p>
+
+<p>Paris is, ever has been, and proudly&mdash;perhaps rightly&mdash;thinks that it ever
+will be, the artistic capital of the world.</p>
+
+<p>Georges Avenel has recently delivered himself of a screed on the
+&#8220;Mechanism of Modern Life,&#8221; wherein are many pertinent, if sometimes
+trite, observations on the more or less automatic processes by which we
+are lodged, fed, and clothed to-day.</p>
+
+<p>He gives rather a quaint, but unquestionably true, reason for the alleged
+falling-off in the cookery of French&mdash;of course he means
+Parisian&mdash;restaurants. It is, he says, that modern patrons will no longer
+pay the prices, or, rather, will not spend the money that they once did.
+In the first half of the last century&mdash;the time of Dumas&#8217; activities and
+achievements&mdash;he tells us that many Parisian lovers of good fare were
+accustomed to &#8220;eat a napoleon&#8221; daily for their dinner. Nowadays, the same
+persons dine sufficiently at their club for eight and a half francs.
+Perhaps the abatement of modern appetites has something to say to this, as
+many folk seldom take more than thirty-five or forty minutes over their
+evening meal. How would<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> this compare with the Gargantuan feasts described
+by Brillat-Savarin and others, or the gastronomic exploits of those who
+ate two turkeys at a sitting?</p>
+
+<p>Clearly, for comfort, and perhaps luxury, the Parisian hotels and
+restaurants of a former day compare agreeably with those of our own time;
+not so much, perhaps, with regard to time and labour-saving machinery,
+which is the equipment of the modern <i>batterie de cuisine</i>, but with the
+results achieved by more simple, if more laborious, means, and the
+appointments and surroundings amid which they were put upon the board.
+&#8220;The proof of the pudding is in the eating&#8221; is still applicable, whether
+its components be beaten or kneaded by clockwork or the cook&#8217;s boy.</p>
+
+<p>With the hotels himself, Avenel is less concerned, though he reminds us
+again that Madame de Sevign&eacute; had often to lie upon straw in the inns she
+met with in travelling, and looked upon a bed in a hotel, which would
+allow one to undress, as a luxury. We also learn that the travellers of
+those days had to carry their own knives, the innkeeper thinking that he
+did enough in providing spoons and forks. Nor were hotels particularly
+cheap, a small suite of rooms in a hotel of the Rue Richelieu costing 480
+francs a week. It was Napoleon III. who, by his creation of the H&ocirc;tel de
+Louvre,&mdash;not<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> the present establishment of the same name, but a much
+larger structure,&mdash;first set the fashion of monster hostelries. But what
+was this compared with the Elys&eacute;es Palace, which M. d&#8217;Avenel chooses as
+his type of modern luxury, with its forty-three cooks, divided into seven
+brigades, each commanded by an officer drawing 3,750 francs a year, and
+its thirty-five hundred pairs of sheets and fifty thousand towels, valued
+together at little short of 250,000 francs? Yet, as we well know, even
+these totals pale before some of the hotels of America, in which M.
+d&#8217;Avenel sees the <i>ne plus ultra</i> of organization and saving of labour by
+the ingenious use of machinery, and incidentally a great deal of the
+sentiment of good cheer, which was as much an ingredient of former
+hospitality as was the salt and pepper of a repast.</p>
+
+<p>It is pleasant to read of Alexandre Dumas&#8217; culinary skill, though the
+repetition of the fact has appeared in the works of well-nigh every writer
+who has written of the Paris of the fifties and sixties. The dinners at
+his apartments in the Boulevard Malesherbes were worthy of Soyer or even
+of Brillat-Savarin himself in his best days. In his last &#8220;Causeries
+Culinaires,&#8221; the author of &#8220;Monte Cristo&#8221; tells us that the Bourbon kings
+were specially fond of soup. &#8220;The family,&#8221; he writes,<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> &#8220;from Louis XIV. to
+the last of their race who reigned in France, have been great eaters. The
+Grand Monarque commenced his dinner by two and sometimes three different
+kinds of soup; Louis-Philippe by four plates of various species of this
+comestible; in the fifth plate his Majesty usually mixed portions of the
+four varieties he had eaten, and appeared to enjoy this singular culinary
+combination.&#8221;</p>
+
+<p>Dumas&#8217; reputation as an epicure must have been formed early; he describes
+in his &#8220;M&eacute;moires&#8221; how, on a certain occasion, when he had first become
+installed in Paris, he met a gentleman, Charles Nodier, in the stalls of
+the Porte St. Martin, who was reading a well-worn Elzevir entitled &#8220;La
+Pastissier Fran&ccedil;aise.&#8221; He says, &#8220;I address him.... &#8216;Pardon my
+impertinence, but are you very fond of eggs?&#8217; &#8216;Why so?&#8217; &#8216;That book you are
+reading, does it not give recipes for cooking eggs in sixty different
+ways?&#8217; &#8216;It does.&#8217; &#8216;If I could but procure a copy.&#8217; &#8216;But this is an
+Elzevir,&#8217; says my neighbour.&#8221;</p>
+
+<p>The Parisian is without a rival as an epicure and a <i>gastronome</i>, and he
+associates no stigma with the epithet. In Anglo-Saxon lands the reverse is
+the case, though why it is hard to see.</p>
+
+<p>&#8220;Frog-legs&#8221; came to be a tidbit in the <i>tables<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
+d&#8217;h&ocirc;te</i> of New York and London many years ago, but sympathy has been withheld from the luscious
+<i>escargot</i>. There be those fearless individuals who by reason of the
+<i>entente cordiale</i> have tasted of him and found him good, but learning
+that in the cookshops of Paris they have at last learned to fabricate them
+to equal the native grown article of Bourgogne, have tabooed them once for
+all, and threaten to withdraw their liking for that other succulent
+dainty, the frog.</p>
+
+<p>At any rate, the schoolboy idea that the Parisian&#8217;s staple fare is snails
+and frogs is quite exploded, and small wonder it is that Anglo-Saxon
+palates never became wholly inured to them. But what about England&#8217;s
+peculiar dishes? Marrow-bones and stewed eels, for instance?</p>
+
+<hr style="width: 25%;" />
+
+<p>Dumas&#8217; familiarity with the good things of the table is nowhere more
+strongly advanced than in the opening chapter of &#8220;The Queen&#8217;s Necklace,&#8221;
+wherein the author recounts the incident of &#8220;the nobleman and his <i>ma&icirc;tre
+d&#8217;h&ocirc;tel</i>.&#8221;</p>
+
+<p>The scene was laid in 1784, and runs as follows:</p>
+
+<div class="blockquot"><p>&#8220;The marshal turned toward his <i>ma&icirc;tre d&#8217;h&ocirc;tel</i>, and said, &#8216;Sir, I
+suppose you have prepared me a good dinner?&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>&#8220;&#8216;Certainly, your Grace.&#8217;</p>
+
+<p>&#8220;&#8216;You have the list of my guests?&#8217;</p>
+
+<p>&#8220;&#8216;I remember them perfectly.&#8217;</p>
+
+<p>&#8220;&#8216;There are two sorts of dinners, sir,&#8217; said the marshal.</p>
+
+<p>&#8220;&#8216;True, your Grace, but&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;In the first place, at what time do we dine?&#8217;</p>
+
+<p>&#8220;&#8216;Your Grace, the citizens dine at two, the bar at three, the
+nobility at four&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;And I, sir?&#8217;</p>
+
+<p>&#8220;&#8216;Your Grace will dine to-day at five.&#8217;</p>
+
+<p>&#8220;&#8216;Oh, at five!&#8217;</p>
+
+<p>&#8220;&#8216;Yes, your Grace, like the king&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;And why like the king?&#8217;</p>
+
+<p>&#8220;&#8216;Because, on the list of your guests is the name of a king.&#8217;</p>
+
+<p>&#8220;&#8216;Not so, sir, you mistake; all my guests to-day are simple
+noblemen.&#8217;</p>
+
+<p>&#8220;&#8216;Your Grace is surely jesting; the Count Haga, who is among the
+guests&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Well, sir!&#8217;</p>
+
+<p>&#8220;&#8216;The Count Haga is a king.&#8217; (The Count Haga was the well-known name
+of the King of Sweden, assumed by him when travelling in France.)</p>
+
+<p>&#8220;&#8216;In any event, your Grace <i>cannot</i> dine before five o&#8217;clock.&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>&#8220;&#8216;In heaven&#8217;s name,
+do not be obstinate, but let us have dinner at four.&#8217;</p>
+
+<p>&#8220;&#8216;But at four o&#8217;clock, your Grace, what I am expecting will not have
+arrived. Your Grace, I wait for a bottle of wine.&#8217;</p>
+
+<p>&#8220;&#8216;A bottle of wine! Explain yourself, sir; the thing begins to
+interest me.&#8217;</p>
+
+<p>&#8220;&#8216;Listen, then, your Grace; his Majesty, the King of Sweden&mdash;I beg
+pardon, the Count Haga, I should have said&mdash;drinks nothing but
+Tokay.&#8217;</p>
+
+<p>&#8220;&#8216;Well, am I so poor as to have no Tokay in my cellar? If so, I must
+dismiss my butler.&#8217;</p>
+
+<p>&#8220;&#8216;Not so, your Grace; on the contrary, you have about sixty bottles.&#8217;</p>
+
+<p>&#8220;&#8216;Well, do you think Count Haga will drink sixty bottles with his
+dinner?&#8217;</p>
+
+<p>&#8220;&#8216;No, your Grace; but when Count Haga first visited France when he
+was only prince royal, he dined with the late king, who had received
+twelve bottles of Tokay from the Emperor of Austria. You are aware
+that the Tokay of the finest vintages is reserved exclusively for the
+cellar of the emperor, and that kings themselves can only drink it
+when he pleases to send it to them.&#8217;</p>
+
+<p>&#8220;&#8216;I know it.&#8217;</p>
+
+<p>&#8220;&#8216;Then, your Grace, of these twelve bottles of<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> which the prince
+royal drank, only two remain. One is in the cellar of his Majesty
+Louis XVI.&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;And the other?&#8217;</p>
+
+<p>&#8220;&#8216;Ah, your Grace!&#8217; said the <i>ma&icirc;tre d&#8217;h&ocirc;tel</i>, with a triumphant
+smile, for he felt that, after the long battle he had been fighting,
+the moment of victory was at hand, &#8216;the other one was stolen.&#8217;</p>
+
+<p>&#8220;&#8216;By whom, then?&#8217;</p>
+
+<p>&#8220;&#8216;By one of my friends, the late king&#8217;s butler, who was under great
+obligations to me.&#8217;</p>
+
+<p>&#8220;&#8216;Oh! and so he gave it to you.&#8217;</p>
+
+<p>&#8220;&#8216;Certainly, your Grace,&#8217; said the <i>ma&icirc;tre d&#8217;h&ocirc;tel</i>, with pride.</p>
+
+<p>&#8220;&#8216;And what did you do with it?&#8217;</p>
+
+<p>&#8220;&#8216;I placed it carefully in my master&#8217;s cellar.&#8217;</p>
+
+<p>&#8220;&#8216;Your master? And who was your master at that time?&#8217;</p>
+
+<p>&#8220;&#8216;His Eminence the Cardinal de Rohan.&#8217;</p>
+
+<p>&#8220;&#8216;Ah, <i>mon Dieu!</i> at Strasbourg?&#8217;</p>
+
+<p>&#8220;&#8216;At Saverne.&#8217;</p>
+
+<p>&#8220;&#8216;And you have sent to seek this bottle for me!&#8217; cried the old marshal.</p>
+
+<p>&#8220;&#8216;For you, your Grace,&#8217; replied the <i>ma&icirc;tre d&#8217;h&ocirc;tel</i>, in a tone which
+plainly said, &#8216;ungrateful as you are.&#8217;</p>
+
+<p>&#8220;The Duke de Richelieu seized the hand of the<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> old servant, and
+cried, &#8216;I beg pardon; you are the king of <i>ma&icirc;tres d&#8217;h&ocirc;tel</i>.&#8217;&#8221;</p></div>
+
+<p>The French noblesse of the eighteenth century may have had retainers of
+the perspicacity and freedom of manners of this servant of the Mar&eacute;chal de
+Richelieu, but it is hard to picture them in real life to-day. At any
+rate, it bespeaks Dumas&#8217; fondness of good eating and good drinking that he
+makes so frequent use of references thereto, not only in this novel of a
+later day, but throughout the medi&aelig;val romances as well.</p>
+
+<p>Dumas&#8217; knowledge of gastronomy again finds its vent in &#8220;The Count of Monte
+Cristo,&#8221; when the unscrupulous Danglars is held in a dungeon pending his
+giving up the five millions of francs which he had fraudulently obtained.</p>
+
+<p>It is not a very high-class repast that is discussed, but it shows at
+least Dumas&#8217; familiarity with the food of man.</p>
+
+<div class="blockquot"><p>&#8220;At twelve the guard before Danglars&#8217; cell was replaced by another
+functionary, and, wishing to catch sight of his new guardian,
+Danglars approached the door again. He was an athletic, gigantic
+bandit, with large eyes, thick lips, and a flat nose; his red hair
+fell in dishevelled masses like<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> snakes around his shoulders. &#8216;Ah!
+ah!&#8217; cried Danglars, &#8216;this fellow is more like an ogre than anything
+else; however, I am rather too old and tough to be very good eating!&#8217;
+We see that Danglars was quite collected enough to jest; at the same
+time, as though to disprove the ogreish propensities, the man took
+some black bread, cheese, and onions from his wallet, which he began
+devouring voraciously. &#8216;May I be hanged,&#8217; said Danglars, glancing at
+the bandit&#8217;s dinner through the crevices of the door, &#8216;may I be
+hanged if I can understand how people can eat such filth!&#8217; and he
+withdrew to seat himself upon his goatskin, which recalled to him the
+smell of the brandy....</p>
+
+<p>&#8220;Four hours passed by, the giant was replaced by another bandit.
+Danglars, who really began to experience sundry gnawings at the
+stomach, rose softly, again applied his eye to the crack of the door,
+and recognized the intelligent countenance of his guide. It was,
+indeed, Peppino, who was preparing to mount guard as comfortably as
+possible by seating himself opposite to the door, and placing between
+his legs an earthen pan, containing chick-pease stewed with bacon.
+Near the pan he also placed a pretty little basket of grapes and a
+bottle of Vin d&#8217;Orvieto. Peppino was decidedly an epicure. While
+witnessing these preparations, <span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>Danglars&#8217; mouth watered.... &#8216;I can
+almost imagine,&#8217; said he, &#8216;that I were at the Caf&eacute; de Paris.&#8217;&#8221;</p></div>
+
+<p>Dumas, like every strong personality, had his friends and his enemies. It
+is doubtful which class was in the ascendency as to numbers. When asked,
+on one occasion, when he had been dining at the Caf&eacute; de Paris, if he were
+an arch&aelig;ologist,&mdash;he had been admiring a cameo portrait of Julius
+C&aelig;sar,&mdash;he replied, &#8220;No, I am absolutely nothing.&#8221; His partisans were
+many, and they were as devoted as his enemies were jealous and
+uncharitable. Continuing, he said, &#8220;I admire this portrait in the capacity
+of C&aelig;sar&#8217;s historian.&#8221; &#8220;Indeed,&#8221; said his interlocutor, &#8220;it has never been
+mentioned in the world of savants.&#8221; &#8220;Well,&#8221; said Dumas, &#8220;the world of
+savants never mentions me.&#8221;</p>
+
+<p>This may be conceit or modesty, accordingly as one takes one view or
+another. Dumas, like most people, was not averse to admiration. Far from
+it. He thrived exceedingly on it. But he was, as he said, very much alone,
+and quite felt a nobody at times. Of his gastronomic and epicurean
+abilities he was vainly proud.</p>
+
+<p>The story is told of the sole possession by Dumas of a certain recipe for
+stewed carp. V&eacute;ron, the director of the opera, had instructed his own
+cook<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> to serve the celebrated dish; she, unable to concoct it
+satisfactorily, announced her intention of going direct to the novelist to
+get it from his own lips. Sophie must have been a most ingenious and
+well-informed person, for she approached Dumas in all hostility and
+candour. She plunged direct into the subject, presuming that he had
+acquired the knowledge of this special tidbit from some outside source.</p>
+
+<p>Dumas was evidently greatly flattered, and gave her every possible
+information, but the experiment was not a success, and the fair
+<i>cordon-bleu</i> began to throw out the suspicion that Dumas had acquired his
+culinary accomplishments from some other source than that he had generally
+admitted. It was at this time that Dumas was at the crux of his affairs
+with his collaborators.</p>
+
+<p>Accordingly Sophie made her pronouncement that it was with Dumas&#8217; cooking
+as it was with his romances, and that he was &#8220;<i>un grand diable de
+vaniteux</i>.&#8221;</p>
+
+<p>At his home in the Rue Chauss&eacute;e d&#8217;Antin Dumas served many an epicurean
+feast to his intimates; preparing, it is said, everything with his own
+hands, even to the stripping of the cabbage-leaves for the <i>soupe aux
+choux</i>, &#8220;sleeves rolled up, and a large apron around his waist.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>A favourite menu was <i>soupe aux choux</i>, the now famous carp, a <i>rago&ucirc;t de
+mouton, &agrave; l&#8217;Hongroise</i>; <i>roti de faisans</i>, and a <i>salade
+Japonaise</i>&mdash;whatever that may have been; the ices and <i>gateaux</i> being sent
+in from a <i>p&acirc;tissier&#8217;s</i>.</p>
+
+<hr style="width: 25%;" />
+
+<p>The customs of the theatre in Paris are, and always have been, peculiar.
+Dumas himself tells how, upon one occasion, just after he had come
+permanently to live there, he had placed himself beside an immense <i>queue</i>
+of people awaiting admission to the Porte St. Martin.</p>
+
+<p>He was not aware of the procedure of lining up before the entrance-doors,
+and when one well up in the line offered to sell him his place for <i>twenty
+sous</i>&mdash;held since midday&mdash;Dumas willingly paid it, and, not knowing that
+it did not include admission to the performance, was exceedingly
+distraught when the time came to actually pay for places. This may seem a
+simple matter in a later day, and to us who have become familiar with
+similar conditions in Paris and elsewhere; but it serves to show the
+guilelessness of Dumas, and his little regard for business procedure of
+any sort.</p>
+
+<p>The incident is continued in his own words, to the effect that he &#8220;finally
+purchased a bit of pasteboard that once had been white, which I presented<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>
+to the check-taker and received in return another of red.... My appearance
+in the amphitheatre of the house must have been astonishing. I was the
+very latest Villers-Cotterets fashion, but a revolution had taken place in
+Paris which had not yet reached my native place. My hair was long, and,
+being frizzled, it formed a gigantic aureole around my head. I was
+received with roars of laughter.... I dealt the foremost scoffer a
+vigorous slap in the face, and said, at the same time, &#8216;My name is
+Alexandre Dumas. For to-morrow, I am staying at the H&ocirc;tel des
+Vieux-Augustins, and after that at No. 1 Place des Italiens.&#8217;&#8221;</p>
+
+<p>By some incomprehensible means Dumas was hustled out of the theatre and on
+to the sidewalk&mdash;for disturbing the performance, though the performance
+had not yet begun. He tried his luck again, however, and this time bought
+a place at two francs fifty centimes.</p>
+
+<p>Every visitor to Paris has recognized the pre&euml;minence of the &#8220;Opera&#8221; as a
+social institution. The National Opera, or the Th&eacute;&acirc;tre Imp&eacute;rial de
+l&#8217;Op&eacute;ra, as it was originally known, in the Rue Lepelletier, just off the
+Boulevard des Italiens, was the progenitor of the splendid establishment
+which now terminates the westerly end of the Avenue de l&#8217;Opera. The more
+ancient &#8220;Grand Opera&#8221; was<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> uncontestably the most splendid, the most
+pompous, and the most influential of its contemporary institutions
+throughout Europe.</p>
+
+<p>The origin of the &#8220;Grand Opera&#8221; was as remote as the times of Anne of
+Austria, who, it will be recalled, had a most passionate regard for
+<i>musique</i> and spectacle, and Mazarin caused to be brought from Italy
+musicians who represented before the queen &#8220;musical pieces&#8221; which proved
+highly successful.</p>
+
+<p>Later, in 1672, Louis XIV. accorded the privilege of the Opera to Lulli, a
+distinguished musician of Florence, and the theatre of the Palais Royal
+was ceded to the uses of Acad&eacute;mie de Musique.</p>
+
+<p>After the fire of 1763, the Opera was transferred to the Tuileries, but
+removed again, because of another fire, to the Porte St. Martin, where it
+remained until 1794, when it was transferred to a new house which had been
+constructed for it in the Rue Richelieu.</p>
+
+<p>Again in 1820 it was removed to a new establishment, which had been
+erected on the site of the former H&ocirc;tel de Choiseul.</p>
+
+<p>This house had accommodations for but two thousand spectators, and, in
+spite of its sumptuousness and rank, was distinctly inferior in point of
+size to many opera-houses and theatres elsewhere.</p>
+
+<p><span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>Up to this time the management had been governed after the manner of the
+old r&eacute;gime, &#8220;by three gentlemen of the king&#8217;s own establishment, in
+concurrence with the services of a working director,&#8221; and the royal privy
+purse was virtually responsible for the expenses. Louis-Philippe astutely
+shifted the responsibility to the public exchequer.</p>
+
+<p>In 1831, Dr. Louis V&eacute;ron, the founder of the <i>Revue de Paris</i>,&mdash;since
+supplanted by the <i>Revue des Deux Mondes</i>,&mdash;became the manager and
+director. Doctor V&eacute;ron has been called as much the quintessence of the
+life of Paris of the first half of the nineteenth century as was Napoleon
+I. of the history of France.</p>
+
+<p>Albert Vandam, the author of &#8220;An Englishman in Paris,&#8221; significantly
+enough links V&eacute;ron&#8217;s name in his recollections with that of Dumas, except
+that he places Dumas first.</p>
+
+<p>&#8220;Robert le Diable&#8221; and Taglioni made V&eacute;ron&#8217;s success and his fortune,
+though he himself was a master of publicity. From 1831 onward, during
+V&eacute;ron&#8217;s incumbency, the newspapers contained column after column of the
+&#8220;puff personal,&#8221; not only with respect to V&eacute;ron himself, but down through
+the galaxy of singers and dancers to the veriest stage-carpenter, scenic
+artist, and call-boy.</p>
+
+<p>The modern managers have advanced somewhat<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> upon these premature efforts;
+but then the art was in its infancy, and, as V&eacute;ron himself was a
+journalist and newspaper proprietor, he probably well understood the
+gentle art of exchanging favouring puffs of one commodity for those of
+another.</p>
+
+<p>These were the days of the first successes of Meyerbeer, Hal&eacute;vy, Auber,
+and Duprez; of Taglioni, who danced herself into a nebula of glory, and
+later into a shadow which inspired the spiteful critics into condemnation
+of her waning power.</p>
+
+<p>It has been said that Marie Taglioni was by no means a good-looking woman.
+Indeed, she must have been decidedly plain. Her manners, too, were
+apparently not affable, and &#8220;her reception of Frenchmen was freezing to a
+degree&mdash;when she thawed it was to Russians, Englishmen, or Viennese.&#8221; &#8220;One
+of her shoulders was higher than the other, she limped slightly, and,
+moreover, waddled like a duck.&#8221; Clearly a stage setting was necessary to
+show off her charms. She was what the French call &#8220;<i>une pimb&ecirc;che</i>.&#8221;</p>
+
+<p>The architectural effect produced by the exterior of this forerunner of
+the present opera was by no means one of monumental splendour. Its
+architect, Debret, was scathingly criticized for its anomalies. A
+newspaper anecdote of the time recounts the circumstance of a provincial
+who, upon asking<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> his way thither, was met with the direction, &#8220;That
+way&mdash;the first large gateway on your right.&#8221;</p>
+
+<p>Near by was the establishment of the famous Italian <i>restaurateur</i>, Paolo
+Broggi, the resort of many singers, and the Estaminet du Divan, a sort of
+humble counterpart of the Caf&eacute; Riche or the Caf&eacute; des Anglais, but which
+proclaimed a much more literary atmosphere than many of the bigger
+establishments on the boulevards. Vandam relates of this house of call
+that &#8220;it is a positive fact that the <i>gar&ccedil;on</i> would ask, &#8216;Does monsieur
+desire Sue&#8217;s or Dumas&#8217; <i>feuilleton</i> with his <i>caf&eacute;</i>?&#8217;&#8221;</p>
+
+<p>Of the Opera which was burned in 1781, Dumas, in &#8220;The Queen&#8217;s Necklace,&#8221;
+has a chapter devoted to &#8220;Some Words about the Opera.&#8221; It is an
+interesting, albeit a rather superfluous, interpolation in a romance of
+intrigue and adventure:</p>
+
+<div class="blockquot"><p>&#8220;The Opera, that temple of pleasure at Paris, was burned in the month
+of June, 1781. Twenty persons had perished in the ruins; and, as it
+was the second time within eighteen years that this had happened, it
+created a prejudice against the place where it then stood, in the
+Palais Royal, and the king had ordered its removal to a less central
+spot. The place chosen was La Porte St. Martin.</p>
+
+<p>&#8220;The king, vexed to see Paris deprived for so<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> long of its Opera,
+became as sorrowful as if the arrivals of grain had ceased, or bread
+had risen to more than seven sous the quartern loaf. It was
+melancholy to see the nobility, the army, and the citizens without
+their after-dinner amusement; and to see the promenades thronged with
+the unemployed divinities, from the chorus-singers to the prima
+donnas.</p>
+
+<p>&#8220;An architect was then introduced to the king, full of new plans, who
+promised so perfect a ventilation, that even in case of fire no one
+could be smothered. He would make eight doors for exit, besides five
+large windows placed so low that any one could jump out of them. In
+the place of the beautiful hall of Moreau he was to erect a building
+with ninety-six feet of frontage toward the boulevard, ornamented
+with eight caryatides on pillars forming three entrance-doors, a
+bas-relief above the capitals, and a gallery with three windows. The
+stage was to be thirty-six feet wide, the theatre seventy-two feet
+deep and eighty across, from one wall to the other. He asked only
+seventy-five days and nights before he opened it to the public.</p>
+
+<p>&#8220;This appeared to all a mere gasconade, and was much laughed at. The
+king, however, concluded the agreement with him. Lenoir set to work,
+and kept his word. But the public feared that a building<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> so quickly
+erected could not be safe, and when it opened no one would go.</p>
+
+<p>&#8220;Even the few courageous ones who did go to the first representation
+of &#8216;Adele de Ponthieu&#8217; made their wills first. The architect was in
+despair. He came to the king to consult him as to what was to be
+done.</p>
+
+<p>&#8220;It was just after the birth of the dauphin; all Paris was full of
+joy. The king advised him to announce a gratuitous performance in
+honour of the event, and give a ball after. Doubtless plenty would
+come, and if the theatre stood, its safety was established.</p>
+
+<p>&#8220;&#8216;Thanks, Sire,&#8217; said the architect.</p>
+
+<p>&#8220;&#8216;But reflect, first,&#8217; said the king, &#8216;if there be a crowd, are you
+sure of your building?&#8217;</p>
+
+<p>&#8220;&#8216;Sire, I am sure, and shall go there myself.&#8217;</p>
+
+<p>&#8220;&#8216;I will go to the second representation,&#8217; said the king.</p>
+
+<p>&#8220;The architect followed this advice. They played &#8216;Adele de Ponthieu&#8217;
+to three thousand spectators, who afterward danced. After this there
+could be no more fear.&#8221;</p></div>
+
+<p>It was three years after that Madame and the cardinal went to the
+celebrated ball, the account of which follows in the subsequent chapter of
+the romance.</p>
+
+<p><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>Dumas as a dramatist was not so very different from Dumas the novelist.
+When he first came to Paris the French stage was by no means at a low and
+stagnant ebb&mdash;at least, it was not the thin, watery concoction that many
+English writers would have us believe; and, furthermore, the world&#8217;s great
+dramatist&mdash;Shakespeare&mdash;had been and was still influencing and inspiring
+the French playwright and actor alike.</p>
+
+<p>It was the &#8220;Hamlet&#8221; of Ducis&mdash;a very French Hamlet, but still Hamlet&mdash;and
+the memory of an early interview with Talma that first set fire to the
+fuel of the stage-fever which afterward produced Dumas the dramatist.</p>
+
+<p>Dumas was not always truthful, or, at least, correct, in his facts, but he
+did not offend exceedingly, and he was plausible; as much so, at any rate,
+as Scott, who had erred to the extent of fifteen years in his account of
+the death of Amy Robsart.</p>
+
+<p>In 1824 was born Alexandre Dumas <i>fils</i>, and at this time the parent was
+collaborating with Souli&eacute; in an attempted, but unfinished, dramatization
+of Scott&#8217;s &#8220;Old Mortality.&#8221;</p>
+
+<p>By 1830, after he had left official work, Dumas had produced that drama of
+the Valois, &#8220;Henri III.,&#8221; at the Th&eacute;&acirc;tre Fran&ccedil;ais, where more than a
+century before Voltaire had produced his<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> first play, &#8220;&OElig;dipe,&#8221; and
+where the &#8220;Hernani&#8221; of Victor Hugo had just been produced.</p>
+
+<p>It was a splendid and gorgeous event, and the adventures of the Duchesse
+de Guise, St. M&eacute;grin, Henri III. and his satellites proved to the large
+and distinguished audience present no inconspicuous element in the success
+of the future king of romance. It was a veritable triumph, and for the
+time the author was more talked of and better known than was Hugo, who had
+already entered the arena, but whose assured fame scarcely dates from
+before &#8220;Hernani,&#8221; whose first presentation&mdash;though it was afterward
+performed over three hundred times in the same theatre&mdash;was in February of
+the same year.</p>
+
+<p>Voltaire had been dead scarce a half-century, but already the dust lay
+thick on his dramatic works, and the world of Paris was looking eagerly
+forward to the achievements of the new school. One cannot perhaps claim
+for Dumas that he was in direct lineage of Shakespeare,&mdash;as was claimed
+for Hugo, and with some merit,&mdash;but he was undoubtedly one of the first of
+the race of the popular French playwrights whose fame is perpetuated
+to-day by Sardou. At any rate, it was a classic struggle which was
+inaugurated in France&mdash;by literature and the drama&mdash;in the early half of
+the <span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>nineteenth century, and one which was a frank rebellion against the
+rigid rules by which their arts had been restrained&mdash;especially dramatic
+art.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_122.jpg" alt="" /></div>
+<p class="center">D&#8217;ARTAGNAN<br />From the Dumas Statue by Gustave Dor&eacute;</p>
+<p>&nbsp;</p>
+
+<p>With all due credit, then, to Hugo, it was Dumas who led the romanticists
+through the breach that was slowly opening; though at the same time one
+may properly enough recall the names of Alfred de Musset, Theophile
+Gautier, and Gerard de Nerval.</p>
+
+<p>Dumas&#8217; next play was in &#8220;classical form&#8221;&mdash;&#8220;Christine.&#8221;</p>
+
+<p>Mere chance brought Dumas into an acquaintance with the history of
+Christine of Sweden, and, though the play was written and accepted before
+&#8220;Henri III. et Sa Cour,&#8221; it was not until some time later that it was
+produced at the Od&eacute;on; the recollection of which also brings up the name
+of Mlle. Mars.</p>
+
+<hr style="width: 25%;" />
+
+<p>The statue in Paris in the Place Malesherbes, erected to the memory of
+Dumas, has been highly commended in conception and execution. It was the
+work of Gustave Dor&eacute;, and, truth to tell, it has some wonderfully
+effective sculptures in bronze. A group of three symbolical figures <i>en
+face</i>, and a lifelike and life-sized representation of the courageous
+D&#8217;Artagnan <i>d&#8217;arri&egrave;re</i>. These details are<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> charming when reproduced on
+paper by process of photography or the hand of an artist. Indeed, they are
+of much the same quality when viewed as details, but in the ensemble,
+combined with a cold, inartistic base or pedestal, which is crowned by a
+seated effigy of Dumas&mdash;also life-size&mdash;clad in the unlovely raiment of
+the latter nineteenth century, there is much to be desired.</p>
+
+<p>Statues, be they bronze or marble, are often artistically successful when
+their figures are covered with picturesque medi&aelig;val garments, but they are
+invariably a failure, in an artistic sense, when clothed in latter-day
+garb. Doublet and hose, and sword and cloak lend themselves unmistakably
+to artistic expression. Trousers and top-hats do not. Just back of the
+Place Malesherbes is the Avenue de Villiers&mdash;a street of fine houses, many
+of them studio apartments, of Paris&#8217;s most famous artists. Here at No. 94
+lived Alexandre Dumas during the later years of his life; so it is fitting
+that his monument should be placed in this vicinity. The house was
+afterward occupied by Dumas <i>fils</i>, and more lately by his widow, but now
+it has passed into other hands.</p>
+
+<p>Of interest to Americans is the fact which has been recorded by some one
+who was <i>au courant</i> with Parisian affairs of the day, &#8220;that the United<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+States Minister to France, Mr. John Bigelow, breakfasted with Dumas at St.
+Gratien, near Paris,&#8221; when it came out that he (Dumas) had a notion to go
+out to America as a war correspondent for the French papers; the Civil War
+was not then over. Unhappily for all of us, he did not go, and so a truly
+great book was lost to the world.</p>
+
+<p>In this same connection it has been said that Dumas&#8217; &#8220;quadroon autographs&#8221;
+were sold in the United States, to provide additional funds for the widows
+and orphans of slain abolitionists. As it is apocryphally said that they
+sold for a matter of a hundred and twenty dollars each, the sum must have
+reached considerable proportions, if their number was great.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2>
+<h3>OLD PARIS</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">The</span> Paris of Dumas was M&eacute;ryon&#8217;s&mdash;though it is well on toward a
+half-century since either of them saw it. Hence it is no longer theirs;
+but the master romancer and the master etcher had much in common.</p>
+
+<p>They both drew with a fine, free hand, the one in words that burn
+themselves in the memory, and the other in lines which, once bitten on the
+copper plate, are come down to us in indelible fashion. The mention of
+M&eacute;ryon and his art is no mere rambling of the pen. Like that of Dumas, his
+art depicted those bold, broad impressions which rebuilt &#8220;old Paris&#8221; in a
+manner which is only comparable to the background which Dumas gave to &#8220;Les
+Trois Mousquetaires.&#8221;</p>
+
+<p>The iconoclastic Haussman caused much to disappear, and it is hard to
+trace the footsteps of many a character of history and romance, whose
+incomings<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> and outgoings are otherwise very familiar to us.</p>
+
+<p>There are many distinct cities which go to make up Paris itself, each
+differing from the other, but Dumas and M&eacute;ryon drew them each and all with
+unerring fidelity: Dumas the University Quarter and the faubourgs in &#8220;Les
+Trois Mousquetaires,&#8221; and M&eacute;ryon the Cit&eacute; in &#8220;The Stryge.&#8221;</p>
+
+<p>The sheer beauty and charm of old-world Paris was never more strongly
+suggested than in the work of these two masters, who have given a
+permanence to the abodes of history and romance which would otherwise have
+been wanting. It is a pleasurable occupation to hunt up the dwellings of
+those personages who may, or may not, have lived in the real flesh and
+blood. The mere fact that they lived in the pages of a Dumas&mdash;or for that
+matter of a Balzac or a Hugo&mdash;is excuse enough for most of us to seek to
+follow in their footsteps.</p>
+
+<p>In spite of the splendour of the present and the past, Paris is by no
+means too great to prevent one&#8217;s tracing its old outlines, streets, and
+landmarks, even though they have disappeared to-day, and the site of the
+famous H&ocirc;tel Chevreuse or the Carmelite establishment in the Rue
+Vaugirard&mdash;against whose wall D&#8217;Artagnan and his fellows put up that
+gallant fight against the cardinal&#8217;s guard&mdash;are in<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> the same geographical
+positions that they always were, if their immediate surroundings have
+changed, as they assuredly have.</p>
+
+<p>Indeed, the sturdy wall which kept the Carmelite friars from contact with
+the outer world has become a mere hoarding for gaudily coloured posters,
+and the magnificent H&ocirc;tel Chevreuse on the Boulevard St. Germain has been
+incorporated into a modern apartment-house, and its garden cut through by
+the Boulevard Raspail.</p>
+
+<p>The destruction of &#8220;Old Paris&#8221;&mdash;the gabled, half-timbered, medi&aelig;val
+city&mdash;is not only an artistic regret, but a personal one to all who know
+intimately the city&#8217;s history and romance. It was inevitable, of course,
+but it is deplorable.</p>
+
+<p>M&eacute;ryon, too, like Dumas, etched details with a certain regard for effect
+rather than a colder preciseness, which could hardly mean so much as an
+impression of a mood. They both sought the picturesque element, and
+naturally imparted to everything modern with which they came into contact
+the same charm of reality which characterized the tangible results of
+their labours.</p>
+
+<p>Nothing was left to chance, though much may&mdash;we have reason to think&mdash;have
+been spontaneous. The witchery of a picturesque impression<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> is ever great,
+but the frequency of its occurrence is growing less and less.</p>
+
+<p>To-day we have few romancers, few painters or etchers of fleeting moods or
+impressions, and are fast becoming schooled in the tenets of Zola and
+Baudry, to the glorification of realism, but to the death and deep burial
+of the far more healthy romanticism of the masters of a few generations
+since.</p>
+
+<hr style="width: 25%;" />
+
+<p>To the Roman occupation of Paris succeeded that of the Franks, and Clovis,
+son of Child&eacute;rie and grandson of Merov&eacute;e, after his conversion to
+Christianity at Reims, established the seat of his empire at Paris.</p>
+
+<p>Childebert, the descendant of Clovis,&mdash;who had taken unto himself the
+title King of Paris,&mdash;in 524 laid the foundation of the first &Eacute;glise de
+Notre Dame.</p>
+
+<p>The kings of the second race lived in Paris but little, and under the
+feeble successors of Charlemagne the city became the particular domain of
+the hereditary counts. In the year 845 the Normans came up the river by
+boat and razed all of that part known even to-day as La Cit&eacute;, hence the
+extreme improbability of there being existing remains of an earlier date
+than this, which are to-day<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> recognizable. After successive disasters and
+invasions, it became necessary that new <i>quartiers</i> and new streets should
+be formed and populated, and under the reign of Louis VII. the walls were
+extended to include, on the right bank, Le Bourg l&#8217;Abb&eacute;, Le Bourg
+Thibourg, Le Beau-Bourg, Le Bourg St. Martin,&mdash;regions which have since
+been occupied by the Rues St. Martin, Beaubourg, Bourtebourg, and Bourg
+l&#8217;Abb&eacute;,&mdash;and, on the right bank, St. Germain des Pr&eacute;s, St. Victor, and St.
+Michel.</p>
+
+<p>Since this time Paris has been divided into three distinct parts: La
+Ville, to the north of the Seine, La Cit&eacute;, in the centre, and
+L&#8217;Universit&eacute;, in the south.</p>
+
+<p>The second <i>enceinte</i> did not long suffice to enclose the habitations of
+the people, and in the year 1190 Philippe-Auguste constructed the third
+wall, which was strengthened by five hundred towers and surrounded by a
+deep <i>fosse</i>, perpetuated to-day as the Rempart des Fosses. At this time
+the first attempts were made at paving the city streets, principally at
+the instigation of the wealthy G&eacute;rard de Poissy, whose name has since been
+given to an imposing street on the south bank.</p>
+
+<p>Again, in 1356, the famous Etienne Marcel commenced the work of the fourth
+<i>enceinte</i>. On<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> the south, the walls were not greatly extended, but on the
+north they underwent a considerable aggrandizement. Fortified gateways
+were erected at the extremity of the Rue de St. Antoine, and others were
+known variously as the Porte du Temple and Porte St. Denis. Other chief
+features of the time&mdash;landmarks one may call them&mdash;were the Porte St.
+Honor&eacute;, which was connected with the river-bank by a prolonged wall, the
+Tour du Bois, and a new fortification&mdash;as a guardian against internal
+warfare, it would seem&mdash;at the upper end of the Ile de la Cit&eacute;.</p>
+
+<p>Toward the end of the reign of Louis XI. the city had become repeopled,
+after many preceding years of flood, ravage, and famine, and contained, it
+is said, nearly three hundred thousand souls.</p>
+
+<p>From this reign, too, dates the establishment of the first printing-shop
+in Paris, the letter-post, and the <i>poste-chaise</i>. Charles VII., the son
+of Louis XI., united with the Biblioth&egrave;que Royal those of the Kings of
+Naples.</p>
+
+<p>Louis XII., who followed, did little to beautify the city, but his
+parental care for the inhabitants reduced the income of the tax-gatherer
+and endeared his name to all as the <i>P&egrave;re du Peuple</i>.</p>
+
+<p>Fran&ccedil;ois I.&mdash;whose glorious name as the instigator of much that has since
+become national in<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> French art&mdash;considerably enlarged the fortifications
+on the west, and executed the most momentous embellishments which had yet
+taken place in the city. In public edifices he employed, or caused his
+architects to employ, the Greek orders, and the paintings by Italian hands
+and the sculptures of Goujon were the highest expressions of the art of
+the Renaissance, which had grown so abundantly from the seed sown by
+Charles VIII. upon his return from his wanderings in Italy.</p>
+
+<p>It may be questioned if the art of the Renaissance is really beautiful; it
+is, however, undeniably effective in its luxuriant, if often ill-assorted,
+details; so why revile it here? It was the prime cause, more than all
+others put together, of the real adornment of Paris; and, in truth, was
+far more successful in the application of its principles here than
+elsewhere.</p>
+
+<p>During the reign of Fran&ccedil;ois I. were built, or rebuilt, the great &Eacute;glises
+de St. Gervais, St. Germain l&#8217;Auxerrois, and St. Merry, as well as the
+H&ocirc;tel de Ville. The Louvre was reconstructed on a new plan, and the
+Faubourg St. Germain was laid out anew.</p>
+
+<p>Under Henri II. the work on the Louvre was completed, and the H&ocirc;pital des
+Petites Maisons constructed. It was Henri II., too, who first <span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>ordained
+that the effigies of the kings should be placed upon all coins.</p>
+
+<p>The principal edifices built under Charles IX. were the Palais des
+Tuileries, H&ocirc;tel de Soissons, the Jesuit College, and the H&ocirc;pital du St.
+Jacques du Haut Pas.</p>
+
+<p>Henri III. erected the church of the Jesuits in the Rue St. Antoine, the
+&Eacute;glise de St. Paul et St. Louis, the Monast&egrave;re des Feuillants, the H&ocirc;tel
+de Bourgogne, and the Th&eacute;&acirc;tre Italien.</p>
+
+<p>Under Henri IV. was achieved the Pont Neuf, whose centre piers just
+impinge upon the lower end of the Ile de la Cit&eacute;; the Quais de l&#8217;Arsenal,
+de l&#8217;Horloge, des Orphelins, de l&#8217;Ecole, de la M&eacute;gisserie, de Conti, and
+des Augustins; la Place Dauphine, and the Rue Dauphine. The Place Royale
+came to replace&mdash;in the <i>Quartier du Marais</i>&mdash;the old Palais des
+Tournelles, the pleasure of so many kings, Fran&ccedil;ois I. in particular.</p>
+
+<p>Louis XIII., the feeble king who reigned without governing, saw many
+improvements, which, however, grew up in spite of the monarch rather than
+because of him.</p>
+
+<p>There was a general furbishing up of the streets and quais. Marie de
+Medicis built the Palais du Luxembourg and planted the Cours la Reine;
+many new bridges were constructed and new monuments<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> set up, among others
+the Palais Royal, at this time called the Palais Cardinal; the &Eacute;glise St.
+Roch; the Oratoire; le Val-de-Grace; les Madelonnettes; la Salp&ecirc;tri&egrave;r&eacute;;
+the Sorbonne, and the Jardin des Plantes. Many public places were also
+decorated with statues: the effigy of Henri IV. was placed on the Pont
+Neuf, and of Louis XII. in the Place Royale.</p>
+
+<p>By this time the population had overflowed the walls of Philippe-Auguste,
+already enlarged by Fran&ccedil;ois I., and Louis XIV. overturned their towers
+and ramparts, and filled their <i>fosses</i>, believing that a strong community
+needed no such protections.</p>
+
+<p>These ancient fortifications were replaced by the boulevards which exist
+even unto to-day&mdash;not only in Paris, but in most French towns and
+cities&mdash;unequalled elsewhere in all the world.</p>
+
+<p>Up to the reign of Louis XIV. the population of Paris had, for the most
+part, been lodged in narrow, muddy streets, which had subjected them to
+many indescribable discomforts. Meanwhile, during the glorious reign of
+Louis XIV., Paris achieved great extension of area and splendour; many new
+streets were opened in the different <i>quartiers</i>, others were laid out
+anew or abolished altogether, more than thirty churches were
+<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>built,&mdash;&#8220;all highly beautiful,&#8221; say the guide-books. But they are not:
+Paris churches taken together are a decidedly mixed lot, some good in
+parts and yet execrable in other parts, and many even do not express any
+intimation whatever of good architectural forms.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_134.jpg" alt="" /></div>
+<p class="center">PONT NEUF.&mdash;PONT AU CHANGE</p>
+<p>&nbsp;</p>
+
+<p>The Pont au Change was rebuilt, and yet four other bridges were made
+necessary to permit of better circulation between the various <i>faubourgs</i>
+and <i>quartiers</i>.</p>
+
+<p>To the credit of Louis XIV. must also be put down the H&ocirc;tel des Invalides,
+the Observatoire, the magnificent colonnade of the Louvre, the Pont Royal,
+the Coll&egrave;ge des Quatre Nations, the Biblioth&egrave;que Royale, numerous
+fountains and statues, the royal glass, porcelain, and tapestry
+manufactories, the Arc de Triomphe du Carrousel, and the Boulevards St.
+Denis and St. Martin.</p>
+
+<p>Saint Foix (in his &#8220;Essais sur Paris&#8221;) has said that it was Louis XIV. who
+first gave to the reign of a French monarch the <i>&eacute;clat</i> of grandeur and
+magnificence, not only for his court, but for his capital and his people.</p>
+
+<p>Under the succeeding reign of Louis XV. the beautifying of Paris took
+another flight. On the place which first bore the name of the monarch
+himself, but which is to-day known as the Place<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> de la Concorde, were
+erected a pair of richly decorated monuments which quite rivalled in
+achievement the superb colonnaded Louvre of the previous reign, the Champs
+Elys&eacute;es were replanted, the &Eacute;cole Militaire, the &Eacute;cole de Droit, and the
+H&ocirc;tel de la Monnaie were erected, and still other additional boulevards
+and magnificent streets were planned out.</p>
+
+<p>A new church came into being with St. Genevieve, which afterward became
+the Panth&eacute;on.</p>
+
+<p>The reign following saw the final achievement of all these splendid
+undertakings; then came the Revolution, that political terror which would
+have upset all established institutions; and if Paris, the city of
+splendid houses, did not become merely a cemetery of tombs, it was not
+because maniacal fanaticism and fury were lacking.</p>
+
+<p>Religious, civic, and military establishments were razed, demolished, or
+burnt, regardless of their past associations or present artistic worth.</p>
+
+<p>In a way, however, these sacrilegious demolitions gave cause to much
+energetic rebuilding and laying out of the old city anew, in the years
+immediately succeeding the period of the Revolution, which as an
+historical event has no place in this book other than mere mention, as it
+may have been referred to by Dumas.</p>
+
+<p><span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span>It was Napoleon who undertook the rehabilitation of Paris, with an energy
+and foresight only equalled by his prowess as a master of men.</p>
+
+<p>He occupied himself above all with what the French themselves would call
+those <i>monuments et decorations utiles</i>, as might be expected of his
+abilities as an organizer. The canal from the river Ourcq through La
+Villette to the Seine was, at the Fosses de la Bastille, cleared and
+emptied of its long stagnant waters; <i>abattoirs</i> were constructed in
+convenient places, in order to do away with the vast herds of cattle which
+for centuries had been paraded through the most luxurious of the city&#8217;s
+streets; new markets were opened, and numerous fountains and
+watering-troughs were erected in various parts of the city; four new and
+ornate bridges were thrown across the Seine, the magnificent Rues
+Castiglione and de la Paix, extending from the Tuileries to the interior
+boulevards, were opened up; the Place Vendome was then endowed with its
+bronze column, which stands to-day; the splendid and utile Rue de Rivoli
+was made beside the garden of the Tuileries (it has since been prolonged
+to the H&ocirc;tel de Ville).</p>
+
+<p>Napoleon also founded the Palais de la Bourse (1808), and caused to be
+erected a superb iron<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> <i>grille</i> which should separate the Place du
+Carrousel from the Tuileries.</p>
+
+<p>Under the Restoration little happened with regard to the beautifying and
+aggrandizing of the city, though certain improvements of a purely economic
+and social nature made their own way.</p>
+
+<p>The literature and art of Dumas and his compeers were making such sturdy
+progress as to give Paris that pre&euml;minence in these finer elements of
+life, which, before or since, has not been equalled elsewhere.</p>
+
+<p>Since the Revolution of 1830 have been completed the Arc de Triomphe de
+l&#8217;Etoile (commenced by Napoleon I.), the &Eacute;glise de la Madeleine, the fine
+hotel of the Quai d&#8217;Orsay, the Palais des Beaux Arts, the restoration of
+the Chambre des D&eacute;put&eacute;s (the old Palais Bourbon), and the statues set up
+in the Place de la Concorde; though it is only since the ill-starred
+Franco-Prussian <i>affaire</i> of 1871 that Strasbourg&#8217;s doleful figure has
+been buried in jet and alabaster sentiments, so dear to the Frenchman of
+all ranks, as an outward expression of grief.</p>
+
+<p>At the commencement of the Second Empire the fortifications, as they then
+existed, possessed a circumference of something above thirty-three
+kilometres&mdash;approximately nineteen miles. The walls<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> are astonishingly
+thick, and their <i>foss&eacute;s</i> wide and deep. The surrounding exterior forts
+&#8220;<i>de distance en distance</i>&#8221; are a unique feature of the general scheme of
+defence, and played, as it will be recalled, no unimportant part in the
+investiture of the city by the Germans in the seventies.</p>
+
+<p>A French writer of the early days of the last Empire says: &#8220;These new
+fortifications are in their ensemble a gigantic work.&#8221; They are,
+indeed&mdash;though, in spite of their immensity, they do not impress the lay
+observer even as to impregnability as do the wonderful walls and ramparts
+of Carcassonne, or dead Aigues-Mortes in the Midi of France; those
+wonderful somnolent old cities of a glorious past, long since departed.</p>
+
+<p>The fortifications of Paris, however, are a wonderfully utile thing, and
+must ever have an unfathomable interest for all who have followed their
+evolution from the restricted battlements of the early Roman city.</p>
+
+<p>The Parisian has, perhaps, cause to regret that these turf-covered
+battlements somewhat restrict his &#8220;<i>promenades environnantes</i>,&#8221; but what
+would you? Once outside, through any of the gateways, the Avenue de la
+Grande Arm&eacute;e,&mdash;which is the most splendid,&mdash;or the Porte du Canal de
+l&#8217;Ourcq,&mdash;which is the least luxurious, though by no means<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> is it
+unpicturesque; indeed, it has more of that variable quality, perhaps, than
+any other,&mdash;one comes into the charm of the French countryside; that is,
+if he knows in which direction to turn. At any rate, he comes immediately
+into contact with a life which is quite different from any phase which is
+to be seen within the barrier.</p>
+
+<p>From the Revolution of 1848 to the first years of the Second Empire, which
+ought properly to be treated by itself,&mdash;and so shall be,&mdash;there came into
+being many and vast demolitions and improvements.</p>
+
+<p>Paris was a vast atelier of construction, where agile minds conceived, and
+the artisan and craftsman executed, monumental glories and improvements
+which can only be likened to the focusing of the image upon the ground
+glass.</p>
+
+<p>The prolongation of the Rue de Rivoli was put through; the Boulevards
+Sebastopol, Malesherbes,&mdash;where in the Place Malesherbes is that appealing
+monument to Dumas by Gustave Dor&eacute;,&mdash;du Prince Eug&egrave;ne, St. Germain,
+Magenta, the Rue des &Eacute;coles, and many others. All of which tended to
+change the very face and features of the Paris the world had known
+hitherto.</p>
+
+<p>The &#8220;Caserne Napoleon&#8221; had received its guests, and the Tour St. Jacques,
+from which point of<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> vantage the &#8220;clerk of the weather&#8221; to-day
+prognosticates for Paris, had been restored. Magnificent establishments of
+all sorts and ranks had been built, the Palais de l&#8217;Industrie (since
+razed) had opened its doors to the work of all nations, in the exhibition
+of 1855.</p>
+
+<p>Of Paris, one may well concentrate one&#8217;s estimate in five words: &#8220;Each
+epoch has been rich,&#8221; also prolific, in benefits, intentions, and
+creations of all manner of estimable and admirable achievements.</p>
+
+<p>By favour of these efforts of all the reigns and governments which have
+gone before, the Paris of to-day in its architectural glories, its
+monuments in stone, and the very atmosphere of its streets, places, and
+boulevards, is assuredly the most marvellous of all the cities of Europe.</p>
+
+<hr style="width: 25%;" />
+
+<p>It may not be an exceedingly pleasant subject, but there is, and always
+has been, a certain fascination about a visit to a cemetery which ranks,
+in the minds of many well-informed and refined persons, far above even the
+contemplation of great churches themselves.</p>
+
+<p>It may be a morbid taste, or it may not. Certainly there seems to be no
+reason why a considerable amount of really valuable facts might not be
+impressed upon the retina of a traveller who<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> should do the round of
+<i>Campos Santos</i>, <i>Cimeti&egrave;res</i> and burial-grounds in various lands.</p>
+
+<p>In this respect, as in many others, Paris leads the way for sheer interest
+in its tombs and sepulchres, at Montmartre and P&egrave;re la Chaise.</p>
+
+<p>In no other burial-ground in the world&mdash;unless it be Mount Auburn, near
+Boston, where, if the world-wide name and fame of those there buried are
+not so great as those at Paris, their names are at least as much household
+words to English-speaking folk, as are those of the old-world
+resting-place to the French themselves&mdash;are to be found so many celebrated
+names.</p>
+
+<p>There are a quartette of these famous resting-places at Paris which, since
+the coming of the nineteenth century, have had an absorbing interest for
+the curiously inclined. P&egrave;re la Chaise, Montmartre, the royal sepulchres
+in the old abbey church of St. Denis, and the churchyard of St. Innocents.</p>
+
+<p>&#8220;Man,&#8221; said Sir Thomas Brown, &#8220;is a noble animal, splendid in ashes, and
+pompous in the grave.&#8221; Why this should be so, it is not the province of
+this book to explain, nor even to justify the gorgeous and ill-mannered
+monuments which are often erected over his bones.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_142.jpg" alt="" /></div>
+<p class="center">PORTRAIT OF HENRY IV.</p>
+<p>&nbsp;</p>
+
+<p>The catacombs of Paris are purposely ignored here, as appealing to a
+special variety of morbidity<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> which is as unpleasant to deal with and to
+contemplate as are snakes preserved in spirit, and as would be&mdash;were we
+allowed to see them&mdash;the sacred human <i>reliques</i> which are preserved, even
+to-day, at various pilgrims&#8217; shrines throughout the Christian world. That
+vast royal sepulchre of the abbey church of St. Denis, which had been so
+outrageously despoiled by the decree of the Convention in 1793, was in a
+measure set to rights by Louis XVIII., when he caused to be returned from
+the Petits Augustins, now the Palais des Beaux Arts, and elsewhere, such
+of the monuments as had not been actually destroyed. The actual spoliation
+of these shrines belongs to an earlier day than that of which this book
+deals.</p>
+
+<p>The history of it forms as lurid a chapter as any known to the records of
+riot and sacrilege in France; and the more the pity that the motion of
+Barrere (&#8220;<i>La main puissante de la R&eacute;publique doit effacer inpitoyablement
+ces epitaphes</i>&#8221;) to destroy these royal tombs should have had official
+endorsement.</p>
+
+<p>The details of these barbarous exhumations were curious, but not edifying;
+the corpse of Turenne was exhibited around the city; Henri IV.&mdash;&#8220;his
+features still being perfect&#8221;&mdash;was kicked and bunted about like a
+football; Louis XIV. was<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> found in a perfect preservation, but entirely
+black; Louis VIII. had been sewed up in a leather sack; and Fran&ccedil;ois I.
+and his family &#8220;had become much decayed;&#8221; so, too, with many of the later
+Bourbons.</p>
+
+<p>In general these bodies were deposited in a common pit, which had been dug
+near the north entrance to the abbey, and thus, for the first time in the
+many centuries covered by the period of their respected demises, their
+dust was to mingle in a common blend, and all factions were to become one.</p>
+
+<p>Viollet-le-Duc, at the instruction of Napoleon III., set up again,
+following somewhat an approximation of the original plan, the various
+monuments which had been so thoroughly scattered, and which, since their
+return to the old abbey, had been herded together without a pretence at
+order in the crypt.</p>
+
+<p>Paris had for centuries been wretchedly supplied with <i>cimeti&egrave;res</i>. For
+long one only had existed, that of the churchyard of St. Innocents&#8217;,
+originally a piece of the royal domain lying without the walls, and given
+by one of the French kings as a burial-place for the citizens, when
+interments within the city were forbidden.</p>
+
+<p>It has been calculated that from the time of Philippe-Auguste over a
+million bodies had been interred in these <i>fosses communes</i>.</p>
+
+<p><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span>In 1785 the Council of State decreed that the cemetery should be cleared
+of its dead and converted into a market-place. Cleared it was not, but it
+has since become a market-place, and the waters of the Fontaine des
+Innocents filter briskly through the dust of the dead of ages.</p>
+
+<p>Sometime in the early part of the nineteenth century the funeral
+undertakings of Paris were conducted on a sliding scale of prices, ranging
+from four thousand francs in the first class, to as low as sixteen francs
+for the very poor; six classes in all.</p>
+
+<p>This law-ordered <i>tarif</i> would seem to have been a good thing for
+posterity to have perpetuated.</p>
+
+<p>The artisan or craftsman who fashions the funeral monuments of Paris has a
+peculiar flight of fancy all his own; though, be it said, throughout the
+known world, funeral urns and monuments have seldom or never been
+beautiful, graceful, or even austere or dignified: they have, in fact,
+mostly been shocking travesties of the ideals and thoughts they should
+have represented.</p>
+
+<p>It is remarkable that the French architect and builder, who knows so well
+how to design and construct the habitation of living man, should express
+himself so badly in his bizarre funeral <span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span>monuments and the tawdry tinsel
+wreaths and flowers of their decorations.</p>
+
+<p>An English visitor to Paris in the thirties deplored the fact that her
+cemeteries should be made into mere show-places, and perhaps rightly
+enough. At that time they served as a fashionable and polite avenue for
+promenades, and there was (perhaps even is to-day) a guide-book published
+of them, and, since grief is paradoxically and proverbially dry, there was
+always a battery of taverns and drinking-places flanking their entrances.</p>
+
+<p>It was observed by a writer in a Parisian journal of that day that &#8220;in the
+Cimeti&egrave;re du Montmartre&mdash;which was the deposit for the gay part of the
+city&mdash;nine tombs out of ten were to the memory of persons cut off in their
+youth; but that in P&egrave;re la Chaise&mdash;which served principally for the sober
+citizens of Paris&mdash;nine out of ten recorded the ages of persons who had
+attained a good old age.&#8221;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2>
+<h3>WAYS AND MEANS OF COMMUNICATION</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">The</span> means of communication in and about Paris in former days was but a
+travesty on the methods of the &#8220;Metropolitain,&#8221; which in our time literally
+whisks one like the wings of the morning, from the Arc de Triomphe to the
+Bois de Vincennes, and from the Place de la Nation to the Trocadero.</p>
+
+<p>In 1850 there were officially enumerated over twenty-eight hundred
+boulevards, avenues, <i>rues</i>, and passages, the most lively being St.
+Honor&eacute;, Richelieu, Vivienne, Castiglione, de l&#8217;Universit&eacute;,&mdash;Dumas lived
+here at No. 25, in a house formerly occupied by Chateaubriand, now the
+Magazin St. Thomas,&mdash;de la Chauss&eacute;e d&#8217;Antin, de la Paix, de Grenelle, de
+Bac, St. Denis, St. Martin, St. Antoine, and, above all, the Rue de
+Rivoli,&mdash;with a length of nearly three miles, distinguished at its
+westerly end by its great covered gallery, where the dwellings<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> above are
+carried on a series of 287 arcades, flanked by <i>boutiques</i>, not very
+sumptuous to-day, to be sure, but even now a promenade of great
+popularity. At No. 22 Rue de Rivoli, near the Rue St. Roch, Dumas himself
+lived from 1838 to 1843.</p>
+
+<p>There were in those days more than a score of passages, being for the most
+part a series of fine galleries, in some instances taking the form of a
+rotunda, glass-covered, and surrounded by shops with <i>appartements</i> above.
+The most notable were those known as the Panoramas Jouffroy, Vivienne,
+Colbert, de l&#8217;Opera, Delorme, du Saumon, etc.</p>
+
+<p>There were more than a hundred squares, or <i>places</i>&mdash;most of which remain
+to-day. The most famous on the right bank of the Seine are de la Concorde,
+Vendome, du Carrousel, du Palais Royal, des Victoires, du Ch&acirc;telet, de
+l&#8217;H&ocirc;tel de Ville, Royale, des Vosges, and de la Bastille; on the left
+bank, du Panth&eacute;on, de St. Sulpice, du Palais Bourbon. Most of these
+radiating centres of life are found in Dumas&#8217; pages, the most frequent
+mention being in the D&#8217;Artagnan and Valois romances.</p>
+
+<p>Among the most beautiful and the most frequented thoroughfares were&mdash;and
+are&mdash;the tree-bordered quais, and, of course, the boulevards.</p>
+
+<p>The interior boulevards were laid out at the end<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span> of the seventeenth
+century on the ancient ramparts of the city, and extended from the
+Madeleine to La Bastille, a distance of perhaps three miles. They are
+mostly of a width of thirty-two metres (105 feet).</p>
+
+<p>This was the boulevard of the time <i>par excellence</i>, and its tree-bordered
+<i>all&eacute;es</i>&mdash;sidewalks and roadways&mdash;bore, throughout its comparatively short
+length, eleven different names, often changing meanwhile as it progressed
+its physiognomy as well.</p>
+
+<p>On the left bank, the interior boulevard was extended from the Jardin des
+Plantes to the H&ocirc;tel des Invalides; while the &#8220;<i>boulevards ext&eacute;rieurs</i>&#8221;
+formed a second belt of tree-shaded thoroughfares of great extent.</p>
+
+<p>Yet other boulevards of ranking greatness cut the <i>rues</i> and avenues
+tangently, now from one bank and then from the other; the most splendid of
+all being the Avenue de l&#8217;Op&eacute;ra, which, however, did not come into being
+until well after the middle of the century. Among these are best recalled
+S&eacute;bastopol, St. Germain, St. Martin, Magenta, Malesherbes, and others. The
+Place Malesherbes, which intersects the avenue, now contains the
+celebrated Dumas memorial by Dor&eacute;, and the<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> neighbouring thoroughfare was
+the residence of Dumas from 1866 to 1870.</p>
+
+<p>Yet another class of thoroughfares, while conceived previous to the
+chronological limits which the title puts upon this book, were the vast
+and splendid promenades and rendezvous, with their trees, flowers, and
+fountains; such as the gardens of the Tuileries and the Luxembourg, the
+Champs Elys&eacute;es, the Esplanade des Invalides, and the Bois de Boulogne and
+de Vincennes.</p>
+
+<p>Dibdin tells of his <i>entr&eacute;e</i> into Paris in the early days of the
+nineteenth century, having journeyed by &#8220;<i>malle-poste</i>&#8221; from Havre, in the
+pages of his memorable bibliographical tour.</p>
+
+<p>His observations somewhat antedate the Paris of Dumas and his fellows, but
+changes came but slowly, and therein may be found a wealth of
+arch&aelig;ological and topographical information concerning the French
+metropolis; though he does compare, detrimentally, the panorama of Paris
+which unrolls from the heights of Passy, to that of London from Highgate
+Woods.</p>
+
+<p>On the contrary, his impressions change after passing the barriers.
+&#8220;Nothing in London,&#8221; says he, &#8220;can enter into comparison with the imposing
+spectacle which is presented by the magnificent Champs Elys&eacute;es, with the
+Ch&acirc;teau of the Tuileries<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> <i>en face</i>, and to the right the superb dome of
+the Invalides glistening in the rays of the setting sun.&#8221;</p>
+
+<p>Paris had at this time 2,948 &#8220;<i>voitures de louage</i>,&#8221; which could be hired
+for any journey to be made within reasonable distance; and eighty-three
+which were run only on predetermined routes, as were the later omnibuses
+and tram-cars. These 2,948 carriages were further classified as follows;
+900 <i>fiacres</i>; 765 <i>cabriolets</i>, circulating in the twelve interior
+<i>arrondissements</i>; 406 <i>cabriolets</i> for the exterior; 489 <i>carrosses de
+remise</i> (livery-coaches), and 388 <i>cabriolets de remise</i>.</p>
+
+<p>The <i>pr&eacute;fet de police</i>, Count Angl&egrave;s, had received from one Godot, an
+<i>entrepreneur</i>,&mdash;a sort of early edition of what we know to-day as a
+company promoter,&mdash;a proposition to establish a line of omnibuses along
+the quais and boulevards. Authorization for the scheme was withheld for
+the somewhat doubtful reason that &#8220;the constant stoppage of the vehicles
+to set down and take up passengers would greatly embarrass other traffic;&#8221;
+and so a new idea was still-born into the world, to come to life only in
+1828, when another received the much coveted authority to make the
+experiment.</p>
+
+<p>Already such had been established in Bordeaux and Nantes, by an individual
+by the name of Baudry,<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> and he it was who obtained the first concession in
+Paris.</p>
+
+<p>The first line inaugurated was divided into two sections: Rue de
+Lancry&mdash;Madeleine, and Rue de Lancry&mdash;Bastille.</p>
+
+<p>It is recorded that the young&mdash;but famous&mdash;Duchesse de Berry was the first
+to take passage in these &#8220;intramural <i>diligences</i>,&#8221; which she called &#8220;<i>le
+carrosse des malheureux</i>;&#8221; perhaps with some truth, if something of
+snobbishness.</p>
+
+<p>There seems to have been a considerable difficulty in attracting a
+<i>client&egrave;le</i> to this new means of communication. The public hesitated,
+though the prices of the places were decided in their favour, so much so
+that the enterprise came to an untimely end, or, at least, its founder
+did; for he committed suicide because of the non-instantaneous success of
+the scheme.</p>
+
+<p>The concession thereupon passed into other hands, and there was created a
+new type of vehicle of sixteen places, drawn by two horses, and priced at
+six sous the place. The new service met with immediate, if but partial,
+success, and with the establishment of new routes, each served by
+carriages of a distinctive colour, its permanence was assured.</p>
+
+<p>Then came the &#8220;<i>Dames Blanches</i>,&#8221;&mdash;the name<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>
+being inspired by Boieldieu&#8217;s opera,&mdash;which made the journey between the Porte St. Martin and the
+Madeleine in a quarter of an hour. They were painted a cream white, and
+drawn by a pair of white horses, coiffed with white plumes.</p>
+
+<p>After the establishment of the omnibus came other series of vehicles for
+public service: the &#8220;<i>Ecossaises</i>,&#8221; with their gaudily variegated colours,
+the &#8220;<i>Carolines</i>,&#8221; the &#8220;<i>Bearnaises</i>,&#8221; and the &#8220;<i>Tricycles</i>,&#8221; which ran on
+three wheels in order to escape the wheel-tax which obtained at the time.</p>
+
+<p>In spite of the rapid multiplication of omnibus lines under
+Louis-Philippe, their veritable success came only with the ingenious
+system of transfers, or &#8220;<i>la correspondance</i>;&#8221; a system and a convenience
+whereby one can travel throughout Paris for the price of one fare. From
+this reason alone, perhaps, the omnibus and tram system of Paris is
+unexcelled in all the world. This innovation dates, moreover, from 1836,
+and, accordingly, is no new thing, as many may suppose.</p>
+
+<p>Finally, more recently,&mdash;though it was during the Second Empire,&mdash;the
+different lines were fused under the title of the &#8220;Compagnie G&eacute;n&eacute;rale des
+Omnibus.&#8221;</p>
+
+<p>&#8220;<i>La malle-poste</i>&#8221; was an institution of the greatest importance to Paris,
+though of course no more<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> identified with it than with the other cities of
+France between which it ran. It dated actually from the period of the
+Revolution, and grew, and was modified, under the Restoration. It is said
+that its final development came during the reign of Louis XVIII., and grew
+out of his admiration for the &#8220;<i>&eacute;l&eacute;gance et la rapidit&eacute; des malles
+anglaises</i>,&#8221; which had been duly impressed upon him during his sojourn in
+England.</p>
+
+<p>This may be so, and doubtless with some justification. <i>En passant</i> it is
+curious to know, and, one may say, incredible to realize, that from the G.
+P. O. in London, in this year of enlightenment, there leaves each night
+various mail-coaches&mdash;for Dover, for Windsor, and perhaps elsewhere. They
+do not carry passengers, but they do give a very bad service in the
+delivery of certain classes of mail matter. The marvel is that such things
+are acknowledged as being fitting and proper to-day.</p>
+
+<p>In 1836 the &#8220;<i>malle-poste</i>&#8221; was reckoned, in Paris, as being <i>&eacute;l&eacute;gante et
+rapide</i>, having a speed of not less than sixteen kilometres an hour over
+give-and-take roads.</p>
+
+<p>Each evening, from the courtyard of the H&ocirc;tel des Postes, the coaches
+left, with galloping horses and heavy loads, for the most extreme points
+of the frontier; eighty-six hours to Bordeaux at first, <span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>and finally
+only forty-four (in 1837); one hundred hours to Marseilles, later but
+sixty-eight.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 328px;"><img src="images/fp_154.jpg" alt="" /></div>
+<p class="center">GRAND BUREAU DE LA POSTE</p>
+<p>&nbsp;</p>
+
+<p>Stendhal tells of his journey by &#8220;<i>malle-poste</i>&#8221; from Paris to Marseilles
+in three days, and Victor Hugo has said that two nights on the road gave
+one a high idea of the <i>solidit&eacute;</i> of the human machine; and further says,
+of a journey down the Loire, that he recalled only a great tower at
+Orleans, a candlelit <i>salle</i> of an <i>auberge en route</i>, and, at Blois, a
+bridge with a cross upon it. &#8220;In reality, during the journey, animation
+was suspended.&#8221;</p>
+
+<p>What we knew, or our forefathers knew, as the &#8220;<i>poste-chaise</i>,&#8221; properly
+&#8220;<i>chaise de poste</i>,&#8221; came in under the Restoration. All the world knows,
+or should know, Edouard Thierry&#8217;s picturesque description of it. &#8220;<i>Le r&ecirc;ve
+de nos vingt ans, la voiture o&ugrave; l&#8217;on n&#8217;est que deux ... devant vous le
+chemin libre, la plaine, la pente rapide, le pont.</i>&#8221; &#8220;You traverse cities
+and hamlets without number, by the <i>grands rues</i>, the <i>grande place</i>,
+etc.&#8221;</p>
+
+<p>In April, 1837, Stendhal quitted Paris under exactly these conditions for
+his tour of France. He bought &#8220;<i>une bonne cal&egrave;che</i>,&#8221; and left <i>via</i>
+Fontainebleau, Montargis, and Cosne. Two months after, however, he
+returned to the metropolis <i>via</i> Bourges, having refused to continue his
+journey <i>en cal&egrave;che</i>,<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> preferring the
+&#8220;<i>malle-poste</i>&#8221; and the <i>diligence</i> of his youth.</p>
+
+<p>Public <i>diligences</i>, however, had but limited accommodation on grand
+occasions; Victor Hugo, who had been invited to the consecration of
+Charles X. at Reims, and his friend, Charles Nodier, the
+bibliophile,&mdash;also a friend of Dumas, it is recalled,&mdash;in company with two
+others, made the attempt amid much discomfort in a private carriage,&mdash;of a
+sort,&mdash;and Nodier wittily tells of how he and Hugo walked on foot up all
+the hills, each carrying his gripsack as well.</p>
+
+<p>More than all others the &#8220;Coches d&#8217;Eau&#8221; are especially characteristic of
+Paris; those fly-boats, whose successors ply up and down the Seine, to the
+joy of Americans, the convenience of the Parisian public, and&mdash;it is
+surely allowable to say it&mdash;the disgust of Londoners, now that their aged
+and decrepit &#8220;Thames steamboats&#8221; are no more.</p>
+
+<p>These early Parisian &#8220;Coches d&#8217;Eau&#8221; carried passengers up and down river
+for surprisingly low fares, and left the city at seven in the morning in
+summer, and eight in winter.</p>
+
+<p>The following is a list of the most important routes:</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Paris&mdash;Nogent-sur-Seine</td><td>2 days en route</td></tr>
+<tr><td>Paris&mdash;Briare</td><td>3<span class="spacer">"</span><span class="spacer2">"</span><span class="spacer">"</span></td></tr>
+<tr><td><span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>Paris&mdash;Montereau</td><td>1 day<span class="spacer2">&nbsp;</span><span class="spacer2">"</span><span class="spacer">"</span></td></tr>
+<tr><td>Paris&mdash;Sens</td><td>2 days<span class="spacer3">&nbsp;</span><span class="spacer2">"</span><span class="spacer">"</span></td></tr>
+<tr><td>Paris&mdash;Auxerre</td><td>4<span class="spacer">"</span><span class="spacer2">"</span><span class="spacer">"</span></td></tr></table>
+
+<p>All of these services catered for passengers and goods, and were, if not
+rapid, certainly a popular and comfortable means of communication.</p>
+
+<p>An even more popular journey, and one which partook more particularly of a
+pleasure-trip, was that of the <i>galiote</i>, which left each day from below
+the Pont-Royal for St. Cloud, giving a day&#8217;s outing by river which to-day,
+even, is the most fascinating of the many <i>petits voyages</i> to be
+undertaken around Paris.</p>
+
+<p>The other recognized public means of communication between the metropolis
+and the provincial towns and cities were the &#8220;Messageries Royales,&#8221; and
+two other similar companies, &#8220;La Compagne Lafitte et Caillard&#8221; and &#8220;Les
+Fran&ccedil;aises.&#8221;</p>
+
+<p>These companies put also before the Parisian public two other classes of
+vehicular accommodation, the &#8220;<i>pataches suspendues</i>,&#8221; small carriages with
+but one horse, which ran between Paris and Strasburg, Metz, Nancy, and
+Lyons at the price of ten sous per hour.</p>
+
+<p>Again there was another means of travel which originated in Paris; it was
+known as the &#8220;Messageries &agrave; Cheval.&#8221; Travellers rode <i>on</i> horses,<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> which
+were furnished by the company, their <i>bagages</i> being transported in
+advance by a &#8220;<i>chariot</i>.&#8221; In fine weather this must certainly have been an
+agreeable and romantic mode of travel in those days; what would be thought
+of it to-day, when one, if he does not fly over the kilometres in a
+Sud&mdash;or Orient&mdash;Express, is as likely as not covering the <i>Route
+Nationale</i> at sixty or more kilometres the hour in an automobile, it is
+doubtful to say.</p>
+
+<p>Finally came the famous <i>diligence</i>, which to-day, outside the &#8220;Rollo&#8221;
+books and the reprints of old-time travel literature, is seldom met with
+in print.</p>
+
+<p>&#8220;These immense structures,&#8221; says an observant French writer, &#8220;which lost
+sometimes their centre of gravity, in spite of all precaution and care on
+the part of the driver and the guard, were, by an <i>Ordonnance Royale</i> of
+the 16th of July, 1828, limited as to their dimensions, weight, and
+design.&#8221;</p>
+
+<p>Each <i>diligence</i> carried as many spare parts as does a modern automobile,
+and workshops and supply-depots were situated at equal distances along the
+routes. Hugo said that the complexity of it all represented to him &#8220;the
+perfect image of a nation; its constitution and its government. In the
+<i>diligence</i> was to be found, as in the state, the aristocracy in the
+coup&eacute;, the <i>bourgeoisie</i> in the interior, the people in <i>la rotonde</i>, and,
+finally, &#8216;the<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> artists, the thinkers, and the unclassed&#8217; in the utmost
+height, the <i>imp&eacute;riale</i>, beside the <i>conducteur</i>, who represented the law
+of the state.</p>
+
+<p>&#8220;This great <i>diligence</i>, with its body painted in staring yellow, and its
+five horses, carries one in a diminutive space through all the sleeping
+villages and hamlets of the countryside.&#8221;</p>
+
+<p>From Paris, in 1830, the journey by <i>diligence</i> to Toulouse&mdash;182 French
+leagues&mdash;took eight days; to Rouen, thirteen hours; to Lyons, <i>par</i>
+Auxerre, four days, and to Calais, two and a half days.</p>
+
+<p>The <i>diligence</i> was certainly an energetic mode of travel, but not without
+its discomforts, particularly in bad weather. Prosper Merim&eacute;e gave up his
+winter journey overland to Madrid in 1859, and took ship at Bordeaux for
+Alicante in Spain, because, as he says, &#8220;all the inside places had been
+taken for a month ahead.&#8221;</p>
+
+<p>The coming of the <i>chemin de fer</i> can hardly be dealt with here. Its
+advent is comparatively modern history, and is familiar to all.</p>
+
+<p>Paris, as might naturally be supposed, was the hub from which radiated the
+great spokes of iron which bound the uttermost frontiers intimately with
+the capital.</p>
+
+<p>There were three short lines of rail laid down<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> in the provinces before
+Paris itself took up with the innovation: at Roanne, St.
+Etienne-Andr&eacute;zieux, Epinac, and Alais.</p>
+
+<p>By <i>la loi du 9 Juillet</i>, 1835, a line was built from Paris to St.
+Germain, seventeen kilometres, and its official opening for traffic, which
+took place two years later, was celebrated by a <i>d&eacute;jeuner de circonstance</i>
+at the Restaurant du Pavillon Henri Quatre at St. Germain.</p>
+
+<p>Then came &#8220;Le Nord&#8221; to Lille, Boulogne, and Calais; &#8220;L&#8217;Ouest&#8221; to Havre,
+Rouen, Cherbourg, and Brest; &#8220;L&#8217;Est&#8221; to Toul and Nancy; &#8220;L&#8217;Orleans&#8221; to
+Orleans and the Loire Valley; and, finally, the &#8220;P. L. M.&#8221; (Paris-Lyon et
+M&eacute;diterran&eacute;e) to the south of France. &#8220;Then it was that Paris really
+became the rich neighbour of all the provincial towns and cities. Before,
+she had been a sort of pompous and distant relative&#8221;&mdash;as a whimsical
+Frenchman has put it.</p>
+
+<p>The mutability of time and the advent of mechanical traction is fast
+changing all things&mdash;in France and elsewhere. The Chevaux Blancs, Deux
+Pigeons, Cloches d&#8217;Or, and the H&ocirc;tels de la Poste, de la Croix, and du
+Grand Cerf are fast disappearing from the large towns, and the way of iron
+is, or will be, a source of inspiration to the poets of the future, as has
+the <i>postillon</i>, the <i>diligence</i>,<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> and the <i>chaise de poste</i> in the past.
+Here is a quatrain written by a despairing <i>aubergiste</i> of the little town
+of Salons, which indicates how the innovation was received by the
+provincials&mdash;in spite of its undeniable serviceability:</p>
+
+<p class="poem">&#8220;En l&#8217;an neuf cent, machine lourde<br />
+A tretous farfit damne et mal,<br />
+Gens moult rioient d&#8217;icelle bourde,<br />
+Au campas renovoient cheval.&#8221;</p>
+
+<p>The railways which centre upon Paris are indeed the ties that bind Paris
+to the rest of France, and vice versa. Their termini&mdash;the great
+<i>gares</i>&mdash;are at all times the very concentrated epitome of the life of the
+day.</p>
+
+<p>The new <i>gares</i> of the P. L. M. and the Orleans railways are truly
+splendid and palatial establishments, with&mdash;at first glance&mdash;little of the
+odour of the railway about them, and much of the ceremonial appointments
+of a great civic institution; with gorgeous <i>salles &agrave; manger</i>,
+waiting-rooms, and&mdash;bearing the P. L. M. in mind in particular&mdash;not a
+little of the aspect of an art-gallery.</p>
+
+<p>The other <i>embarcad&egrave;res</i> are less up-to-date&mdash;that vague term which we
+twentieth-century folk are wont to make use of in describing the latest
+innovations. The Gare St. Lazare is an enormous<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> establishment, with a
+hotel appendage, which of itself is of great size; the Gare du Nord is
+equally imposing, but architecturally unbeautiful; while the Gare de l&#8217;Est
+still holds in its tympanum the melancholy symbolical figure of the late
+lamented Ville de Strasbourg, the companion in tears, one may say, of that
+other funereally decorated statue on the Place de la Concorde.</p>
+
+<p>Paris, too, is well served by her tramways propelled by horses,&mdash;which
+have not yet wholly disappeared,&mdash;and by steam and electricity, applied in
+a most ingenious manner. By this means Paris has indeed been transformed
+from its interior thoroughfares to its uttermost <i>banlieu</i>.</p>
+
+<p>The last two words on the subject have reference to the advent and
+development of the bicycle and the automobile, as swift, safe, and
+economical means of transport.</p>
+
+<p>The reign of the bicycle as a pure fad was comparatively short, whatever
+may have been its charm of infatuation. As a utile thing it is perhaps
+more worthy of consideration, for it cannot be denied that its
+development&mdash;and of its later gigantic offspring, the automobile&mdash;has had
+a great deal to do with the better construction and up-keep of modern
+roadways, whether urban or suburban.</p>
+
+<p>&#8220;<i>La petite reine bicyclette</i>&#8221; has been f&ecirc;ted in<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> light verse many times,
+but no one seems to have hit off its salient features as did Charles
+Monselet. Others have referred to riders of the &#8220;new means of locomotion&#8221;
+as &#8220;cads on casters,&#8221; and a writer in <i>Le Gaulois</i> stigmatized them as
+&#8220;<i>imb&eacute;ciles &agrave; roulettes</i>,&#8221; which is much the same; while no less a
+personage than Francisque Sarcey demanded, in the journal <i>La France</i>,
+that the police should suppress forthwith this <i>eccentricit&eacute;</i>.</p>
+
+<p>Charles Monselet&#8217;s eight short lines are more appreciative:</p>
+
+<p class="poem">&#8220;Instrument raide<br />
+En fer battu<br />
+Qui d&eacute;poss&egrave;de<br />
+Le char torlu;<br />
+V&eacute;locip&egrave;de<br />
+Rail impromptu,<br />
+Fils d&#8217;Archim&egrave;de,<br />
+D&#8217;o&ugrave; nous viens-tu?&#8221;</p>
+
+<p>Though it is apart from the era of Dumas, this discursion into a phase of
+present-day Paris is, perhaps, allowable in drawing a comparison between
+the city of to-day and that even of the Second Empire, which was, at its
+height, contemporary with Dumas&#8217; prime.</p>
+
+<p>If Paris was blooming suddenly forth into beauty and grace in the period
+which extended from the<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span> Revolution to the Franco-Prussian War, she has
+certainly, since that time, not ceased to shed her radiance; indeed, she
+flowers more abundantly than ever, though, truth to tell, it is all due to
+the patronage which the state has ever given, in France, to the fostering
+of the arts as well as industries.</p>
+
+<p>And so Paris has grown,&mdash;beautiful and great,&mdash;and the stranger within her
+gates, whether he come by road or rail, by automobile or railway-coach, is
+sure to be duly impressed with the fact that Paris is for one and all
+alike a city founded of and for the people.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2>
+<h3>THE BANKS OF THE SEINE</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">The</span> city of the ancient Parisii is the one particular spot throughout the
+length of the sea-green Seine&mdash;that &#8220;winding river&#8221; whose name, says
+Thierry, in his &#8220;Histoire des Gaulois,&#8221; is derived from a Celtic word
+having this signification&mdash;where is resuscitated the historical being of
+the entire French nation.</p>
+
+<p>Here it circles around the Ile St. Louis, cutting it apart from the Ile de
+la Cit&eacute;, and rushing up against the northern bank, periodically throws up
+a mass of gravelly sand, just in the precise spot where, in medi&aelig;val
+times, was an open market-place.</p>
+
+<p>Here the inhabitants of the city met the country dealers, who landed
+produce from their boats, traded, purchased, and sold, and departed whence
+they came, into the regions of the upper Seine or the Marne, or downward
+to the lower river cities of Meulan, Mantes, and Vernon.</p>
+
+<p><span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span>At this time Paris began rapidly to grow on each side of the stream, and
+became the great market or trading-place where the swains who lived
+up-river mingled with the hewers of wood from the forests of La Brie and
+the reapers of corn from the sunny plains of La Beauce.</p>
+
+<p>These country folk, it would appear, preferred the northern part of Paris
+to the southern&mdash;it was less ceremonious, less ecclesiastical. If they
+approached the city from rearward of the Universit&eacute;, by the Orleans
+highroad, they paid exorbitant toll to the Abbot of St. Germain des Pr&eacute;s.
+Here they paid considerably less to the Pr&eacute;v&ocirc;t of Paris. And thus from
+very early times the distinction was made, and grew with advancing years,
+between the town, or La Ville, which distinguished it from the Cit&eacute; and
+the Universit&eacute;.</p>
+
+<p>This sandy river-bank gradually evolved itself into the Quai and Place de
+la Gr&egrave;ve,&mdash;its etymology will not be difficult to trace,&mdash;and endured in
+the full liberty of its olden functions as late as the day of Louis XV.
+Here might have been seen great stacks of firewood, charcoal, corn, wine,
+hay, and straw.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 363px;"><img src="images/fp_166.jpg" alt="" /></div>
+<p class="center">THE OD&Eacute;ON IN 1818</p>
+<p>&nbsp;</p>
+
+<p>Aside from its artistic and economic value, the Seine plays no great part
+in the story of Paris. It does not divide what is glorious from what is
+sordid, <span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span>as does &#8220;London&#8217;s river.&#8221; When one crosses any one of its
+numerous bridges, one does not exchange thriftiness and sublimity for the
+commonplace. Les Invalides, L&#8217;Institut, the Luxembourg, the Panth&eacute;on, the
+Od&eacute;on, the Universit&eacute;,&mdash;whose buildings cluster around the ancient
+Sorbonne,&mdash;the H&ocirc;tel de Cluny, and the churches of St. Sulpice, St.
+Etienne du Mont, and St. Severin, and, last but not least, the Chamber of
+Deputies, all are on the south side of Paris, and do not shrink greatly in
+artistic or historical importance from Notre Dame, the Louvre, the Tour
+St. Jacques, the Place de la Bastille, the Palais Royal, or the
+Th&eacute;&acirc;tre-Fran&ccedil;ais.</p>
+
+<p>The greatest function of the Seine, when one tries to focus the memory on
+its past, is to recall to us that old Paris was a trinity. Born of the
+river itself rose the Cit&eacute;, the home of the Church and state, scarce
+finding room for her palaces and churches, while close to her side, on the
+south bank, the Universit&eacute; spread herself out, and on the right bank the
+Ville hummed with trade and became the home of the great municipal
+institutions.</p>
+
+<p>Dumas shifts the scenes of his Parisian romances first from one side to
+the other, but always his medi&aelig;val Paris is the same grand, luxurious, and
+lively stage setting. Certainly no historian could hope to have done better.</p>
+
+<p><span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span>Intrigue, riot, and bloodshed of course there were; and perhaps it may be
+thought in undue proportions. But did not the history of Paris itself
+furnish the romancer with these very essential details?</p>
+
+<p>At all events, there is no great sordidness or squalor perpetuated in
+Dumas&#8217; pages. Perhaps it is for this reason that they prove so readable,
+and their wearing qualities so great.</p>
+
+<p>There is in the reminiscence of history and the present aspect of the
+Seine, throughout its length, the material for the constructing a volume
+of bulk which should not lack either variety, picturesqueness, or
+interest. It furthermore is a subject which seems to have been shamefully
+neglected by writers of all ranks.</p>
+
+<p>Turner, of the brilliant palette, pictured many of its scenes, and his
+touring-companion wrote a more or less imaginative and wofully incorrect
+running commentary on the itinerary of the journey, as he did also of
+their descent of the Loire. Philip Gilbert Hamerton, accompanied by a
+series of charming pictures by Joseph Pennell (the first really artistic
+topographical illustrations ever put into the pages of a book), did the
+same for the Sa&ocirc;ne; and, of course, the Thames has been &#8220;done&#8221; by many
+writers of all shades of ability, but manifestly the<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span> Seine, along whose
+banks lie the scenes of some of the most historic and momentous events of
+medi&aelig;val times, has been sadly neglected.</p>
+
+<p>Paris is divided into practically two equal parts by the swift-flowing
+current of the Seine, which winds its way in sundry convolutions from its
+source beyond Chatillon-sur-Seine to the sea at Honfleur.</p>
+
+<p>The praises of the winding river which connects Havre, Rouen, Vernon,
+Mantes, and Paris has often been sung, but the brief, virile description
+of it in the eighty-seventh chapter of Dumas&#8217; &#8220;Le Vicomte de Bragelonne&#8221;
+has scarcely been equalled. Apropos of the journey of Madame and
+Buckingham Paris-ward, after having taken leave of the English fleet at
+Havre, Dumas says of this greatest of French waterways:</p>
+
+<p>&#8220;The weather was fine. Spring cast its flowers and its perfumed foliage
+upon the path. Normandy, with its vast variety of vegetation, its blue
+sky, and silver rivers, displayed itself in all its loveliness.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Through Paris its direction is from the southeast to the northwest, a
+distance, within the fortifications, of perhaps twelve kilometres.</p>
+
+<p>Two islands of size cut its currents: the Ile St. Louis and the Ile de la
+Cit&eacute;. A description of<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> its banks, taken from a French work of the time,
+better defines its aspect immediately after the Revolution of 1848 than
+any amount of conjecture or present-day observation, so it is here given:</p>
+
+<p>&#8220;In its course through the metropolis, the Seine is bordered by a series
+of magnificent quais, which in turn are bordered by rows of sturdy trees.</p>
+
+<p>&#8220;The most attractive of these quais are those which flank the Louvre, the
+Tuileries, D&#8217;Orsay, Voltaire, and Conti.</p>
+
+<p>&#8220;Below the quais are deposed nine ports, or <i>gares</i>, each devoted to a
+special class of merchandise, as coal, wine, produce, timber, etc.</p>
+
+<p>&#8220;The north and south portions of the city are connected by twenty-six
+<i>ponts</i> (this was in 1852; others have since been erected, which are
+mentioned elsewhere in the book).</p>
+
+<p>&#8220;Coming from the upper river, they were known as follows: the Ponts
+Napol&eacute;on, de Bercy, d&#8217;Austerlitz, the Passerelle de l&#8217;Estacade; then, on
+the right branch of the river, around the islands, the Ponts Maril,
+Louis-Philippe, d&#8217;Arcole, Notre Dame, and the Pont au Change; on the left
+branch, the Passerelle St. Louis or Constantine, the Ponts Tournelle, de
+la Cit&eacute;, de l&#8217;Archev&ecirc;che, le Pont aux Doubles, le Petit Pont, and the Pont
+St. Michel; here the two branches join again: le Pont Neuf, des Arts,<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> du
+Carrousel, Royal, Solferino, de la Concorde, des Invalides, de l&#8217;Alma, de
+Jena, and Grenelle.</p>
+
+<p>&#8220;Near the Pont d&#8217;Austerlitz the Seine receives the waters of the petite
+Rivi&egrave;re de Bi&egrave;vre, or des Gobelins, which traverses the faubourgs.&#8221;</p>
+
+<p>Of the bridges of Paris, Dumas in his romances has not a little to say. It
+were not possible for a romanticist&mdash;or a realist, for that matter&mdash;to
+write of Paris and not be continually confronting his characters with one
+or another of the many splendid bridges which cross the Seine between
+Conflans-Charenton and Asni&egrave;res.</p>
+
+<p>In the &#8220;Mousquetaires&#8221; series, in the Valois romances, and in his later
+works of lesser import, mention of these fine old bridges continually
+recurs; more than all others the Pont Neuf, perhaps, or the Pont au
+Change.</p>
+
+<p>In &#8220;Pauline&#8221; there is a charming touch which we may take to smack somewhat
+of the author&#8217;s own predilections and experiences. He says, concerning his
+embarkation upon a craft which he had hired at a little Norman
+fishing-village, as one jobs a carriage in Paris: &#8220;I set up to be a
+sailor, and served apprenticeship on a craft between the Pont des
+Tuileries and the Pont de la Concorde.&#8221;</p>
+
+<p>Of the Seine bridges none is more historic than the Pont Neuf, usually
+reckoned as one of the<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> finest in Europe; which recalls the fact that the
+French&mdash;ecclesiastic and laymen architects alike&mdash;were master
+bridge-builders. For proof of this one has only to recall the wonderful
+bridge of St. B&eacute;nezet d&#8217;Avignon, the fortified bridges of Orthos and
+Cahors, the bridge at Lyons, built by the Primate of Gaul himself, and
+many others throughout the length and breadth of France.</p>
+
+<p>The Pont Neuf was commenced in the reign of Henri III. (1578), and
+finished in the reign of Henri IV. (1604), and is composed of two unequal
+parts, which come to their juncture at the extremity of the Ile de la
+Cit&eacute;.</p>
+
+<p>In the early years a great bronze horse, known familiarly as the &#8220;Cheval
+de Bronze,&#8221; but without a rider, was placed upon this bridge. During the
+Revolution, when cannon and ammunition were made out of any metal which
+could be obtained, this curious statue disappeared, though later its
+pedestal was replaced&mdash;under the Bourbons&mdash;by an equestrian statue of the
+Huguenot king.</p>
+
+<p>The Pont des Arts, while not usually accredited as a beautiful
+structure,&mdash;and certainly not comparable with many other of its
+fellows,&mdash;is interesting by reason of the fact that its nine iron arches,
+which led from the Quai du Louvre to the Quai de la Monnai, formed the
+first example of an iron<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span> bridge ever constructed in France. Its
+nomenclature is derived from the Louvre, which was then called&mdash;before the
+title was applied to the Coll&egrave;ge des Quatre Nations&mdash;the Palais des Arts.
+In Restoration times it was one of the fashionable promenades of Paris.</p>
+
+<p>The Pont au Change took its name from the <i>changeurs</i>, or money-brokers,
+who lived upon it during the reign of Louis le Jeune in 1141. It bridged
+the widest part of the Seine, and, after being destroyed by flood and fire
+in 1408, 1616, and 1621, was rebuilt in 1647. The houses which originally
+covered it were removed in 1788 by the order of Louis XVI. In &#8220;The
+Conspirators,&#8221; Dumas places the opening scene at that end of the Pont Neuf
+which abuts on the Quai de l&#8217;&Eacute;cole, and is precise enough, but in
+&#8220;Marguerite de Valois&#8221; he evidently confounds the Pont Neuf with the Pont
+au Change, when he puts into the mouth of Coconnas, the Piedmontese: &#8220;They
+who rob on the Pont Neuf are, then, like you, in the service of the king.
+<i>Mordi!</i> I have been very unjust, sir; for until now I had taken them for
+thieves.&#8221;</p>
+
+<p>The Pont Louis XV. was built in 1787 out of part of the material which was
+taken from the ruins of the Bastille.</p>
+
+<p>Latterly there has sprung up the new Pont <span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span>Alexandre, commemorative of the
+Czar&#8217;s visit to Paris, which for magnificent proportions, beauty of design
+and arrangement, quite overtops any other of its kind, in Paris or
+elsewhere.</p>
+
+<p>The quais which line the Seine as it runs through Paris are like no other
+quais in the known world. They are the very essence and epitome of certain
+phases of life which find no counterpart elsewhere.</p>
+
+<p>The following description of a bibliomaniac from Dumas&#8217; &#8220;M&eacute;moires&#8221; is
+unique and apropos:</p>
+
+<p>&#8220;Bibliomaniac, evolved from <i>book</i> and <i>mania</i>, is a variety of the
+species man&mdash;<i>species bipes et genus homo</i>.</p>
+
+<p>&#8220;This animal has two feet and is without features, and usually wanders
+about the quais and boulevards, stopping in front of every stall and
+fingering all the books. He is generally dressed in a coat which is too
+long and trousers which are too short, his shoes are always down at heel,
+and on his head is an ill-shapen hat. One of the signs by which he may be
+recognized is shown by the fact that he never washes his hands.&#8221;</p>
+
+<p>The booksellers&#8217; stalls of the quais of Paris are famous, though it is
+doubtful if genuine bargains exist there in great numbers. It is
+significant, however, that more volumes of Dumas&#8217; romances<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span> are offered
+for sale&mdash;so it seems to the passer-by&mdash;than of any other author.</p>
+
+<p>The Seine opposite the Louvre, and, indeed, throughout the length of its
+flow through Paris, enters largely into the scheme of the romances, where
+scenes are laid in the metropolis.</p>
+
+<p>Like the throng which stormed the walls of the Louvre on the night of the
+18th of August, 1527, during that splendid royal f&ecirc;te, the account of
+which opens the pages of &#8220;Marguerite de Valois,&#8221; the Seine itself
+resembles Dumas&#8217; description of the midnight crowd, which he likens to &#8220;a
+dark and rolling sea, each swell of which increases to a foaming wave;
+this sea, extending all along the quai, spent its waves at the base of the
+Louvre, on the one hand, and against the H&ocirc;tel de Bourbon, which was
+opposite, on the other.&#8221;</p>
+
+<p>In the chapter entitled &#8220;What Happened on the Night of the Twelfth of
+July,&#8221; in &#8220;The Taking of the Bastille,&#8221; Dumas writes of the banks of the
+Seine in this wise:</p>
+
+<p>&#8220;Once upon the quai, the two countrymen saw glittering on the bridge near
+the Tuileries the arms of another body of men, which, in all probability,
+was not a body of friends; they silently glided to the end of the quai,
+and descended the bank which<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> leads along the Seine. The clock of the
+Tuileries was just then striking eleven.</p>
+
+<p>&#8220;When they had got beneath the trees which line the banks of the river,
+fine aspen-trees and poplars, which bathe their feet in its current, when
+they were lost to the sight of their pursuers, hid by their friendly
+foliage, the farmers and Pitou threw themselves on the grass and opened a
+council of war.&#8221;</p>
+
+<p>Just previously the mob had battered down the gate of the Tuileries, as a
+means of escape from the pen in which the dragoons had crowded the
+populace.</p>
+
+<p>&#8220;&#8216;Tell me now, Father Billot,&#8217; inquired Pitou, after having carried the
+timber some thirty yards, &#8216;are we going far in this way?&#8217;</p>
+
+<p>&#8220;&#8216;We are going as far as the gate of the Tuileries.&#8217;</p>
+
+<p>&#8220;&#8216;Ho, ho!&#8217; cried the crowd, who at once divined his intention.</p>
+
+<p>&#8220;And it made way for them more eagerly even than before.</p>
+
+<p>&#8220;Pitou looked about him, and saw that the gate was not more than thirty
+paces distant from them.</p>
+
+<p>&#8220;&#8216;I can reach it,&#8217; said he, with the brevity of a Pythagorean.</p>
+
+<p>&#8220;The labour was so much the easier to Pitou<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> from five or six of the
+strongest of the crowd taking their share of the burden.</p>
+
+<p>&#8220;The result of this was a very notable acceleration in their progress.</p>
+
+<p>&#8220;In five minutes they had reached the iron gates.</p>
+
+<p>&#8220;&#8216;Come, now,&#8217; cried Billot, &#8216;clap your shoulders to it, and all push
+together.&#8217;</p>
+
+<p>&#8220;&#8216;Good!&#8217; said Pitou. &#8216;I understand now. We have just made a warlike
+engine; the Romans used to call it a ram.&#8217;</p>
+
+<p>&#8220;&#8216;Now, my boys,&#8217; cried Billot, &#8216;once, twice, thrice,&#8217; and the joist,
+directed with a furious impetus, struck the lock of the gate with
+resounding violence.</p>
+
+<p>&#8220;The soldiers who were on guard in the interior of the garden hastened to
+resist this invasion. But at the third stroke the gate gave way, turning
+violently on its hinges, and through that gaping and gloomy mouth the
+crowd rushed impetuously.</p>
+
+<p>&#8220;From the movement that was then made, the Prince de Lambesq perceived at
+once that an opening had been effected which allowed the escape of those
+whom he had considered his prisoners. He was furious with disappointment.&#8221;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span></p>
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h2>
+<h3>THE SECOND EMPIRE AND AFTER</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">The</span> Revolution of 1848 narrowed itself down to the issue of Bourbonism or
+Bonapartism. Nobody had a good word to say for the constitution, and all
+parties took liberties with it. It was inaugurated as the most democratic
+of all possible charters. It gave a vote to everybody, women and children
+excepted. It affirmed liberty with so wide a latitude of interpretation as
+to leave nothing to be desired by the reddest Republican that ever wore
+pistols in his belt at the heels of the redoubtable M. Marc Caussidi&egrave;re,
+or expressed faith in the social Utopia of the enthusiastic M. Proudhon.
+Freedom to speak, to write, to assemble, and to vote,&mdash;all were secured to
+all Frenchmen by this marvellous charter. When it became the law of the
+land, everybody began to nibble at and destroy it. The right of speaking
+was speedily reduced to the narrowest<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> limits, and the liberty of the
+press was pared down to the merest shred. The right of meeting was placed
+at the tender mercies of the prefect of police, and the right of voting
+was attacked with even more zeal and fervour. The Revolution proved more
+voracious than Saturn himself, in devouring its children, and it made
+short work of men and reputations. It reduced MM. de Lamartine, Armand
+Marrast, and General Cavaignac into nothingness; sent MM. Louis Blanc,
+Ledru Rollin, and Caussidi&egrave;re into the dreary exile of London, and
+consigned the fiery Barb&eacute;s, the vindictive Blanqui, the impatient Raspail,
+and a host of other regenerators of the human race, to the fastnesses of
+Vincennes. Having done this, the Revolution left scarcely a vestige of the
+constitution,&mdash;nothing but a few crumbs, and those were not crumbs of
+comfort, which remained merely to prove to the incredulous that such a
+thing as the constitution once existed.</p>
+
+<p>The former king and queen took hidden refuge in a small cottage at
+Honfleur, whence they were to depart a few days later for England&mdash;ever a
+refuge for exiled monarchists. Escape became very urgent, and the king,
+with an English passport in the name of William Smith, and the queen as
+Madame Lebrun, crossed over to Le Havre and ultimately to England.
+Lamartine evidently <span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span>mistakes even the time and place of this incident,
+but newspaper accounts of the time, both French and English, are very full
+as to the details. On landing at the quai at Le Havre, the ex-royal party
+was conducted to the &#8220;Express&#8221; steam-packet, which had been placed at
+their disposal for the cross-channel journey. Dumas takes the very
+incident as a detail for his story of &#8220;Pauline,&#8221; and his treatment thereof
+does not differ greatly from the facts as above set forth. Two years later
+(August 26, 1850), at Claremont, in Surrey, in the presence of the queen
+and several members of his family, Louis-Philippe died. He was the last of
+the Bourbons, with whom Dumas proudly claimed acquaintanceship, and as
+such, only a short time before, was one of the mightiest of the world&#8217;s
+monarchs, standing on one of the loftiest pinnacles of an ambition which,
+in the mind of a stronger or more wilful personality, might have
+accomplished with success much that with him resulted in defeat.</p>
+
+<p>After the maelstrom of discontent&mdash;the Revolution of 1848&mdash;had settled
+down, there came a series of events well-nigh as disturbing. Events in
+Paris were rapidly ripening for a change. The known determination of Louis
+Napoleon to prolong his power, either as president for another term of
+four years, or for life, or as consul or emperor of<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> the French, and the
+support which his pretensions received from large masses of the people and
+from the rank and file of the army, had brought him into collision with a
+rival&mdash;General Changarnier&mdash;almost as powerful as himself, and with an
+ambition quite as daring as his own.</p>
+
+<p>What Louis Napoleon wanted was evident. There was no secret about his
+designs. The partisans of Henri V. looked to Changarnier for the
+restoration of peace and legitimacy, and the Orleanists considered that he
+was the most likely man in France to bring back the house of Orleans, and
+the comfortable days of bribery, corruption, and a thriving trade; while
+the fat <i>bourgeoisie</i> venerated him as the unflinching foe of the
+disturbers of order, and the great bulwark against Communism and the Red
+Republic.</p>
+
+<p>Still, this was manifestly not to be, though no one seemed to care a straw
+about Louis Napoleon&#8217;s republic, or whether or no he dared to declare
+himself king or emperor, or whether they should be ruled by Bonapartist,
+Bourbon, or Orleanist.</p>
+
+<p>These were truly perilous times for France; and, though they did not
+culminate in disaster until twenty years after, Louis Napoleon availed
+himself of every opportunity to efface from the Second Republic, of which
+he was at this time the head,<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span> every vestige of the democratic features
+which it ought to have borne.</p>
+
+<p>At the same time he surrounded himself with imposing state and pomp, so
+regal in character that it was evidently intended to accustom the public
+to see in him the object of that homage which is usually reserved for
+crowned heads alone, and thus gradually and imperceptibly to prepare the
+nation to witness, without surprise, his assuming, when the favourable
+occasion offered, the purple and diadem of the empire.</p>
+
+<p>For instance, he took up his residence in the ancient palace of the
+sovereigns of France, the Tuileries, and gave banquets and balls of regal
+magnificence; he ordered his effigy to be struck upon the coinage of the
+nation, surrounded by the words &#8220;Louis Napoleon Bonaparte,&#8221; without any
+title, whether as president or otherwise, being affixed. He restored the
+imperial eagles to the standards of the army; the official organ, the
+<i>Moniteur</i>, recommended the restoration of the titles and orders of
+hereditary nobility; the trees of liberty were uprooted everywhere; the
+Republican motto, &#8220;Liberty, Equality, Fraternity,&#8221; was erased from the
+public edifices; the colossal statue of Liberty, surmounted by a Phrygian
+cap, which stood in the centre of the Place de Bourgogne, <span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span>behind the
+Legislative Assembly, was demolished; and the old anti-Republican names of
+the streets were restored, so that the Palais National again became the
+Palais Royal; the Th&eacute;&acirc;tre de la Nation, the Th&eacute;&acirc;tre Fran&ccedil;ais; the Rue de
+la Concorde, the Rue Royal, etc.; and, in short, to all appearances, Louis
+Napoleon began early in his tenure of office to assiduously pave the way
+to the throne of the empire as Napoleon III.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 321px;"><img src="images/fp_182.jpg" alt="" /></div>
+<p class="center">PALAIS ROYAL, STREET FRONT</p>
+<p>&nbsp;</p>
+
+<p>The <i>London Times</i> correspondent of that day related a characteristic
+exercise of this sweeping instruction of the Minister of the Interior to
+erase the words &#8220;Libert&eacute;, Egalit&eacute;, Fraternit&eacute;&#8221; from all public buildings.
+(The three revolutionary watchwords had, in fact, been erased the previous
+year from the principal entrance to the Elys&eacute;e, and the words &#8220;R&eacute;publique
+Fran&ccedil;aise,&#8221; in large letters, were substituted.)</p>
+
+<p>&#8220;There is, I believe, only one public monument in Paris&mdash;the Ecole de
+Droit&mdash;where the workmen employed in effacing that inscription will have a
+double duty. They will have to interfere with the &#8216;Liberalism&#8217; of two
+generations. Immediately under the coat of yellow paint which covered the
+fa&ccedil;ade of the building, and on which time and the inclemency of the
+seasons have done their work, may still be traced, above the modern
+device, the<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span> following words, inscribed by order of the Commune of Paris
+during the Reign of Terror: &#8216;Libert&eacute;, Egalit&eacute;, Fraternit&eacute;, Unit&eacute;,
+Indivisibilit&eacute; de la R&eacute;publique Fran&ccedil;aise!&#8217; As the effacing of the
+inscription of 1848 is not now by means of whitewash or paint, but by
+erasure, both the inscriptions will disappear at the same moment.&#8221;</p>
+
+<p>Among the most important demolitions and renovations of the sixties was
+the work undertaken on the Louvre at the orders of the ambitious emperor,
+Napoleon III. The structure was cloven to the foundations, through the
+slated roof, the gilded and painted ceiling, the parqueted floors; and,
+where one formerly enjoyed an artistic feast that had taken four centuries
+to provide, one gazed upon, from the pavement to the roof, a tarpaulin
+that closed a vista which might otherwise have been a quarter of a mile in
+length.</p>
+
+<p>Builders toiled day and night to connect the Louvre with the main body of
+the Palace of the Tuileries, which itself was to disappear within so short
+a time. Meanwhile so great a displacement of the art treasures was
+undergone, that <i>habitu&eacute;s</i> knew not which way to turn for favourite
+pictures, with which the last fifty years had made them so familiar.</p>
+
+<p>To those of our elders who knew the Paris of<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span> the early fifties, the
+present-day aspect&mdash;in spite of all its glorious wealth of boulevards and
+architectural splendour&mdash;will suggest the mutability of all things.</p>
+
+<p>It serves our purpose, however, to realize that much of the character has
+gone from the Quartier Latin; that the Tuileries disappeared with the
+Commune, and that the old distinctions between Old Paris, the faubourgs,
+and the Communal Annexes, have become practically non-existent with the
+opening up of the Haussman boulevards, at the instigation of the wary
+Napoleon III. Paris is still, however, an &#8220;<i>ancienne ville et une ville
+neuve</i>,&#8221; and the paradox is inexplicable.</p>
+
+<p>The differences between the past and the present are indeed great, but
+nowhere&mdash;not even in the Tower of London, which is usually given as an
+example of the contrast and progress of the ages&mdash;is a more tangible and
+specific opposition shown, than in what remains to-day of medi&aelig;val Paris,
+in juxtaposition with the later architectural embellishments. In many
+instances is seen the newest of the &#8220;<i>art nouveau</i>&#8221;&mdash;as it is popularly
+known&mdash;cheek by jowl with some medi&aelig;val shrine.</p>
+
+<p>It is difficult at this time to say what effect these swirls and blobs,
+which are daily thrusting themselves into every form of architectural
+display<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> throughout Continental Europe, would have had on these masters
+who built the Gothic splendours of France, or even the hybrid <i>rococo</i>
+style, which, be it not denied, is in many instances beautiful in spite of
+its idiosyncrasies.</p>
+
+<hr style="width: 25%;" />
+
+<p>To those who are familiar with the &#8220;sights&#8221; of Paris, there is nothing
+left but to study the aspects of the life of the streets, the boulevards,
+the quais, the gardens, the restaurants, and the caf&eacute;s. Here at least is
+to be found daily, and hourly, new sensations and old ones, but at all
+events it is an ever-shifting scene, such as no other city in the world
+knows.</p>
+
+<p>The life of the <i>faubourgs</i> and of the <i>quartiers</i> has ever been made the
+special province of artists and authors, and to wander through them, to
+sit beneath the trees of the squares and gardens, or even outside a caf&eacute;,
+is to contemplate, in no small degree, much of the incident and
+temperament of life which others have already perpetuated and made famous.</p>
+
+<p>There is little new or original effort which can be made, though once and
+again a new performer comes upon the stage,&mdash;a poet who sings songs of
+vagabondage, a painter who catches a fleeting impression, which at least,
+if not new, seems new.<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> But in the main one has to hark back to former
+generations, if one would feel the real spirit of romance and tradition.
+There are few who, like Monet, can stop before a shrine and see in it
+forty-three varying moods&mdash;or some other incredible number, as did that
+artist when he limned his impressions of the fa&ccedil;ade of the Cathedral of
+N&ocirc;tre Dame de Rouen.</p>
+
+<p>Such landmarks as the Place de la Bastille, the Pantheon,&mdash;anciently the
+site of the Abbey de Ste. Genevi&egrave;ve,&mdash;the Chambre des D&eacute;put&eacute;s,&mdash;the former
+Palais Bourbon,&mdash;the Tour St. Jacques, the Fountain des Innocents, St.
+Germain l&#8217;Auxerrois, the Palais du Luxembourg, the Louvre, and quite all
+the historic and notable buildings one sees, are all pictured with
+fidelity, and more or less minuteness, in the pages of Dumas&#8217; romances.</p>
+
+<p>Again, in such other localities as the Boulevard des Italiens, the Caf&eacute; de
+Paris, the Th&eacute;&acirc;tre Fran&ccedil;ais, the Od&ecirc;on, the Palais Royal,&mdash;where, in the
+&#8220;Orleans Bureau,&#8221; Dumas found his first occupation in Paris,&mdash;took place
+many incidents of Dumas&#8217; life, which are of personal import.</p>
+
+<p>For recollections and reminders of the author&#8217;s contemporaries, there are
+countless other localities too numerous to mention. In the Rue Pigalle, at
+No. 12, died Eugene Scribe; in the Rue de Douai<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span> lived Edmond About, while
+in the Rue d&#8217;Amsterdam, at No. 77, lived Dumas himself, and in the Rue St.
+Lazare, Madame George Sand. Montmartre is sacred to the name of Zola in
+the minds of most readers of latter-day French fiction, while many more
+famous names of all ranks, of litterateurs, of actors, of artists and
+statesmen,&mdash;all contemporaries and many of them friends of Dumas,&mdash;will be
+found on the tombstones of P&egrave;re la Chaise.</p>
+
+<p>The motive, then, to be deduced from these pages is that they are a record
+of many things associated with Alexandre Dumas, his life, and his work.
+Equally so is a fleeting itinerary of strolls around and about the Paris
+of Dumas&#8217; romances, with occasional journeys into the provinces.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_188_top.jpg" alt="" /></div>
+<p class="center">77 Rue d&#8217;Amsterdam</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_188_bot.jpg" alt="" /></div>
+<p class="center">Rue de St. Denis</p>
+<p>&nbsp;</p>
+
+<p>Thus the centuries have done their work of extending and mingling,&mdash;&#8220;<i>le
+jeu est fait</i>,&#8221; so to speak,&mdash;but Paris, by the necessities of her growth
+and by her rather general devotion to one stately, towering form of
+domestic architecture, has often made the separation of old from new
+peculiarly difficult to a casual eye. It is indeed her way to be new and
+splendid, to be always the bride of cities, espousing human destiny. And,
+truly, it is in this character that we do her homage with our visits, our
+money, and our admiration. Out of <span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span>gray, unwieldy, distributed London
+one flies from a vast and romantic camp to a city exact and beautiful. So
+exact, so beautiful, so consistent in her vivacity, so neat in her
+industry, so splendid in her display, that one comes to think that the
+ultimate way to enjoy Paris is to pass unquestioning and unsolicitous into
+her life, exclaiming not &#8220;Look here,&#8221; and &#8220;Look there&#8221; in a fever of
+sightseeing, but rather baring one&#8217;s breast, like Daudet&#8217;s <i>ouvrier</i>, to
+her assaults of glistening life.</p>
+
+<hr style="width: 25%;" />
+
+<p>The Paris of to-day is a reconstructed Paris; its old splendours not
+wholly eradicated, but changed in all but their associations. The life of
+Paris, too, has undergone a similar evolution, from what it was even in
+Dumas&#8217; time.</p>
+
+<p>The celebrities of the Caf&eacute; de Paris have mostly, if not quite all, passed
+away. No more does the eccentric Prince Demidoff promulgate his
+eccentricities into the very faces of the onlookers; no more does the
+great Dumas make omelettes in golden sugar-bowls; and no more does he pass
+his criticisms&mdash;or was it encomiums?&mdash;on the <i>veau saut&eacute;</i>.</p>
+
+<p>The student revels of the <i>quartier</i> have become more sedate, if not more
+fastidious, and there is no such Mardi Gras and Mi-Car&ecirc;me festivities as<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span>
+used to hold forth on the boulevards in the forties. And on the Buttes
+Chaumont and Montmartre are found batteries of questionable
+amusements,&mdash;especially got up for the delectation of <i>les Anglais</i>,
+provincials, and soldiers off duty,&mdash;in place of the <i>cabarets</i>, which, if
+of doubtful morality, were at least a certain social factor.</p>
+
+<p>New bridges span the Seine, and new thoroughfares, from humble alleys to
+lordly and magnificent boulevards, have clarified many a slum, and
+brightened and sweetened the atmosphere; so there is some considerable
+gain there.</p>
+
+<p>The Parisian cabby is, as he always was, a devil-may-care sort of a
+fellow, who would as soon run you down with his sorry old outfit as not;
+but perhaps even his characteristics will change sooner or later, now that
+the automobile is upon us in all its proclaimed perfection.</p>
+
+<p>The &#8220;New Opera,&#8221; that sumptuous structure which bears the inscription
+&#8220;Acad&eacute;mie Nationale de Musique,&#8221; begun by Garnier in 1861, and completed a
+dozen years later, is, in its commanding situation and splendid
+appointments, the peer of any other in the world. In spite of this, its
+fame will hardly rival that of the Com&eacute;die Fran&ccedil;aise, or even the Op&eacute;ra
+Comique of former days, and the names of latter-day stars will have
+difficulty in competing<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> with those of Rachel, Talma, and their fellow
+actors on the stage of other days.</p>
+
+<p>Whom, if you please, have we to-day whose name and fame is as wide as
+those just mentioned? None, save Madame Bernhardt, who suggests to the
+well-informed person&mdash;who is a very considerable body&mdash;the pre&euml;minent
+influences which formerly emanated from Paris in the fifties. But this of
+itself is a subject too vast for inclusion here, and it were better passed
+by. So, too, with the Parisian artists who made the art of the world in
+the latter half of the nineteenth century. Decamps, Delacroix, Corot, and
+Vernet are names with which to conjure up reminiscences as great as those
+of Rubens, Titian, and Van Dyke. This may be disputed, but, if one were
+given the same familiarity therewith, it is possible that one&#8217;s contrary
+opinion would be greatly modified.</p>
+
+<p>To-day, in addition to the glorious art collection of former times, there
+are the splendid, though ever shifting, collections of the Mus&eacute;e du
+Luxembourg, the mural paintings of the H&ocirc;tel de Ville, which are a gallery
+in themselves, and the two spring Salon exhibitions, to say nothing of the
+newly attempted Salon d&#8217;Automne. Curiously enough, some of us find great
+pleasure in the contemplation of the decorations in the interiors of the
+great <i>gares</i><span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> of the Lyons or the Orleans railways. Certainly these last
+examples of applied art are of a lavishness&mdash;and even excellence&mdash;which a
+former generation would not have thought of.</p>
+
+<p>The Arc de Triomphe d&#8217;&Eacute;toile, of course, remains as it always has since
+its erection at the instigation of Napoleon I.; while the Bois de Boulogne
+came into existence as a municipal pleasure-ground only in the early
+fifties, and has since endured as the great open-air attraction of Paris
+for those who did not wish to go farther afield.</p>
+
+<p>The churches have not changed greatly in all this time, except that they
+had some narrow escapes during the Franco-Prussian War, and still narrower
+ones during the Commune. It may be remarked here <i>en passant</i> that, for
+the first time in seventy years, so say the records, there has just been
+taken down the scaffolding which, in one part or another, has surrounded
+the church of St. Eustache. Here, then, is something tangible which has
+not changed until recently (March, 1904), since the days when Dumas first
+came to Paris.</p>
+
+<p>The Paris of the nineteenth century is, as might naturally be inferred,
+that of which the most is known; the eighteenth and seventeenth are indeed
+difficult to follow with accuracy as to the exact locale of their events;
+but the sixteenth looms <span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span>up&mdash;curiously enough&mdash;more plainly than either of
+the two centuries which followed. The histories, and even the guide-books,
+will explain why this is so, so it shall have no place here.</p>
+
+<p>Order, of a sort, immediately came forth from out the chaos of the
+Revolution. The great Napoleon began the process, and, in a way, it was
+continued by the plebeian Louis-Philippe, elaborated in the Second Empire,
+and perfected&mdash;if a great capital such as Paris ever really is
+perfected&mdash;under the Third Republic.</p>
+
+<p>Improvement and demolition&mdash;which is not always improvement&mdash;still go on,
+and such of Old Paris as is not preserved by special effort is fast
+falling before the stride of progress.</p>
+
+<p>A body was organized in 1897, under the name of the &#8220;<i>Commission du Vieux
+Paris</i>,&#8221; which is expected to do much good work in the preservation of the
+chronicles in stone of days long past.</p>
+
+<p>The very streets are noisy with the echo of an unpeaceful past; and their
+frequent and unexpected turnings, even in these modern days, are
+suggestive of their history in a most graphic manner.</p>
+
+<p>The square in front of the Fontaine des Innocents is but an ancient
+burial-ground; before the H&ocirc;tel de Ville came Etienne Marcel; and
+Charlemagne to the cathedral; the Place de la Concorde<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span> was the death-bed
+of the Girondins, and the Place de la Madeleine the tomb of the Capetians;
+and thus it is that Paris&mdash;as does no other city&mdash;mingles its centuries of
+strife amid a life which is known as the most vigorous and varied of its
+age.</p>
+
+<p>To enter here into a detailed comparison between the charm of Paris of
+to-day and yesterday would indeed be a work of supererogation; and only in
+so far as it bears directly upon the scenes and incidents amid which Dumas
+lived is it so made.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span></p>
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.</h2>
+<h3>LA VILLE</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">It</span> would be impossible to form a precise topographical itinerary of the
+scenes of Dumas&#8217; romances and the wanderings of his characters, even in
+Paris itself. The area is so very wide, and the number of localities,
+which have more than an incidental interest, so very great, that the
+futility of such a task will at once be apparent.</p>
+
+<p>Probably the most prominent of all the romances, so far as identifying the
+scenes of their action goes, are the Valois series.</p>
+
+<p>As we know, Dumas was very fond of the romantic house of Valois, and,
+whether in town or country, he seemed to take an especial pride in
+presenting details of portraiture and place in a surprisingly complete,
+though not superfluous, manner.</p>
+
+<p>The Louvre has the most intimate connection with both the Valois and the
+D&#8217;Artagnan romances, and is treated elsewhere as a chapter by itself.</p>
+
+<p><span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span>Dumas&#8217; most marked reference to the H&ocirc;tel de Ville is found in the taking
+of the Bastille, and, though it is not so very great, he gives prominence
+to the incident of the deputation of the people who waited upon De
+Flesselles, the pr&eacute;v&ocirc;t, just before the march upon the Bastille.</p>
+
+<p>In history we know the same individual as &#8220;Messire Jacques de Flesselles,
+Chevalier, Conseiller de la Grande Chambre, Ma&icirc;tre Honoraire des Requ&ecirc;tes,
+Conseiller d&#8217;Etat.&#8221; The anecdote is recorded in history, too, that Louis
+XVI., when he visited the H&ocirc;tel de Ville in 1789, was presented with a
+cockade of blue and red, the colours of the ville&mdash;the white was not added
+till some days later.</p>
+
+<p><i>&#8220;Votre Majest&eacute;,&#8221; dit le maire, &#8220;veut-elle accepte le signe distinctif des
+Fran&ccedil;ais?&#8221;</i></p>
+
+<p>For reply the king took the cockade and put it on his chapeau, entered the
+<i>grande salle</i>, and took his place on the throne.</p>
+
+<p>All the broils and turmoils which have taken place since the great
+Revolution, have likewise had the H&ocirc;tel de Ville for the theatre where
+their first scenes were represented.</p>
+
+<p>It was invaded by the people during the Revolutions of 1830 and 1848, as
+well as in the Commune in 1871, when, in addition to the human fury, it
+was attacked by the flames, which finally brought<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> about its
+destruction. Thus perished that noble structure, which owed its inception
+to that art-loving monarch, Fran&ccedil;ois I.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_196.jpg" alt="" /></div>
+<p class="center">PLACE DE LA GR&Egrave;VE</p>
+<p>&nbsp;</p>
+
+<p>The present-day Quai de l&#8217;H&ocirc;tel de Ville is the successor of the Quai des
+Ormes, which dates from the fourteenth century, and the Quai de la Gr&egrave;ve,
+which existed as early as 1254, and which descended by an easy slope to
+the strand from which it took its name.</p>
+
+<p>Adjoining the quai was the Place de la Gr&egrave;ve, which approximates the
+present Place de l&#8217;H&ocirc;tel de Ville.</p>
+
+<p>A near neighbour of the H&ocirc;tel de Ville is the Tour de St. Jacques la
+Boucherie, where sits to-day Paris&#8217;s clerk of the weather.</p>
+
+<p>It was here that Marguerite de Valois, in company with the Duchesse de
+Nevers, repaired from their pilgrimage to the Cimeti&egrave;re des Innocents, to
+view the results of the Huguenot massacre of the preceding night.</p>
+
+<p>&#8220;&#8216;And where are you two going?&#8217; inquired Catherine, the queen&#8217;s mother.
+&#8216;To see some rare and curious Greek books found at an old Protestant
+pastor&#8217;s, and which have been taken to the Tour de St. Jacques la
+Boucherie,&#8217; replied the inquisitive and erudite Marguerite. For, be it
+recalled, her <span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span>knowledge and liking of classical literature was most
+profound.&#8221;</p>
+
+<p>This fine Gothic tower, which is still a notable landmark, is the only
+<i>relique</i> of the Church of St. Jacques. A bull of Pope Calixtus II., dated
+1119, first makes mention of it, and Fran&ccedil;ois I. made it a royal parish
+church.</p>
+
+<p>The tower itself was not built until 1508, having alone cost 1,350 livres.
+It has often been pictured and painted, and to-day it is a willing or
+unwilling sitter to most snap-shot camerists who come within focus of it,
+but no one has perceived the spirit of its genuine old-time flavour as did
+M&eacute;ryon, in his wonderful etching&mdash;so sought for by collectors&mdash;called &#8220;Le
+Stryge.&#8221;</p>
+
+<p>The artist&#8217;s view-point, taken from the gallery of N&ocirc;tre Dame,&mdash;though in
+the early nineteenth century,&mdash;with the grotesque head and shoulders of
+one of those monstrous figures, half-man, half-beast, with which the
+galleries of N&ocirc;tre Dame are peopled, preserves, with its very simplicity
+and directness, an impression of <i>Vieux Paris</i> which is impossible to
+duplicate to-day.</p>
+
+<p>The Place de la Gr&egrave;ve was for a time, at least, the most famous or
+infamous of all the places of execution in Paris. One reads of it largely
+in &#8220;Marguerite de Valois&#8221; in this connection, and <span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span>in &#8220;Le Vicomte de
+Bragelonne&#8221; it again crops up, but in a much more pleasant manner.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_198.jpg" alt="" /></div>
+<p class="center">TOUR DE ST. JACQUES LA BOUCHERIE<br />(M&eacute;ryon&#8217;s Etching, &#8220;Le Stryge&#8221;)</p>
+<p>&nbsp;</p>
+
+<p>Dumas, ever praiseful of good wine and good food, describes Vatel, the
+<i>ma&icirc;tre d&#8217;h&ocirc;tel</i> of Fouquet, as crossing the square with a hamper filled
+with bottles, which he had just purchased at the <i>cabaret</i> of the sign of
+&#8220;L&#8217;Image de N&ocirc;tre Dame;&#8221; a queer name for a wine-shop, no doubt, and,
+though it does not exist to-day, and so cannot be authenticated, it may
+likely enough have had an existence outside the novelist&#8217;s page. At all
+events, it is placed definitely enough, as one learns from the chapter of
+&#8220;Le Vicomte de Bragelonne,&#8221; entitled &#8220;The Wine of M. de la Fontaine.&#8221;</p>
+
+<p>&#8220;&#8216;What the devil are you doing here, Vatel?&#8217; said Fouquet. &#8216;Are you buying
+wine at a <i>cabaret</i> in the Place de Gr&egrave;ve?&#8217;... &#8216;I have found here,
+monsieur, a &#8220;<i>vin de Joigny</i>&#8221; which your friends like. This I know, as
+they come once a week to drink it at the &#8220;Image de N&ocirc;tre Dame.&#8221;&#8217;&#8221;</p>
+
+<p>In the following chapter Dumas reverts to the inglorious aspect of the
+Place and the Quai de la Gr&egrave;ve as follows:</p>
+
+<p>&#8220;At two o&#8217;clock the next day, fifty thousand spectators had taken their
+position upon the place, around two gibbets which had been elevated
+between the Quai de la Gr&egrave;ve and Quai Pelletier; one close <span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span>to the other,
+with their backs to the parapet of the river. In the morning, also, all
+the sworn criers of the good city of Paris had traversed the quarters of
+the city, particularly the Halles and the faubourgs, announcing with their
+hoarse and indefatigable voices the great justice done by the king upon
+two peculators; two thieves, devourers of the people. And these people,
+whose interests were so warmly looked after, in order not to fail in
+respect for their king, quitted shops, stalls, and ateliers, to go and
+evince a little gratitude to Louis XIV., absolutely like invited guests,
+who feared to commit an impoliteness in not repairing to the house of him
+who invited them. According to the tenor of the sentence, which the criers
+read loudly and badly, two farmers of the revenues, monopolists of money,
+dilapidators of the royal provisions, extortioners and forgers, were about
+to undergo capital punishment on the Place de Gr&egrave;ve, with their names
+affixed over their heads, according to their sentence. As to those names,
+the sentence made no mention of them. The curiosity of the Parisians was
+at its height, and, as we have said, an immense crowd waited with feverish
+impatience the hour fixed for the execution.&#8221;</p>
+
+<p>D&#8217;Artagnan, who, in the pages of &#8220;Le Vicomte de Bragelonne,&#8221; was no more a
+young man, owned<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span> this very <i>cabaret</i>, the &#8220;Image de N&ocirc;tre
+Dame.&#8221; &#8220;&#8216;I will go, then,&#8217; says he, &#8216;to the &#8220;Image de N&ocirc;tre Dame,&#8221; and drink a glass of
+Spanish wine with my tenant, which he cannot fail to offer me.&#8217;&#8221;</p>
+
+<p><i>En route</i> to the <i>cabaret</i>, D&#8217;Artagnan asked of his companion, &#8220;Is there
+a procession to-day?&#8221; &#8220;It is a hanging, monsieur.&#8221; &#8220;What! a hanging on the
+Gr&egrave;ve? The devil take the rogue who gets himself hung the day I go to take
+my rent,&#8221; said D&#8217;Artagnan.</p>
+
+<p>The old <i>mousquetaire</i> did not get his rent, there was riot and bloodshed
+galore, &#8220;L&#8217;Image de N&ocirc;tre Dame&#8221; was set on fire, and D&#8217;Artagnan had one
+more opportunity to cry out &#8220;<i>A moi, Mousquetaires</i>,&#8221; and enter into a
+first-class fight; all, of course, on behalf of right and justice, for he
+saved two men, destined to be gibbeted, from the more frightful death of
+torture by fire, to which the fanatical crowd had condemned them.</p>
+
+<p>The most extensive reference to the Place de la Gr&egrave;ve is undoubtedly in
+the &#8220;Forty-Five Guardsmen,&#8221; where is described the execution of Salc&egrave;de,
+the coiner of false money and the co-conspirator with the Guises.</p>
+
+<p>&#8220;M. Friard was right when he talked of one hundred thousand persons as the
+number of spectators who would meet on the Place de la Gr&egrave;ve and <span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span>its
+environs, to witness the execution of Salc&egrave;de. All Paris appeared to have
+a rendezvous at the H&ocirc;tel de Ville; and Paris is very exact, and never
+misses a f&ecirc;te; and the death of a man is a f&ecirc;te, especially when he has
+raised so many passions that some curse and others bless him.</p>
+
+<p>&#8220;The spectators who succeeded in reaching the place saw the archers and a
+large number of Swiss and light horse surrounding a little scaffold raised
+about four feet from the ground. It was so low as to be visible only to
+those immediately surrounding it, or to those who had windows overlooking
+the place. Four vigorous white horses beat the ground impatiently with
+their hoofs, to the great terror of the women, who had either chosen this
+place willingly, or had been forcibly pushed there.</p>
+
+<p>&#8220;These horses were unused, and had never done more work than to support,
+by some chance, on their broad backs, the chubby children of the peasants.
+After the scaffold and the horses, what next attracted all looks was the
+principal window of the H&ocirc;tel de Ville, which was hung with red velvet and
+gold, and ornamented with the royal arms. This was for the king. Half-past
+one had just struck when this window was filled. First came Henri III.,
+pale, almost bald, although he was at that time only thirty-five, and with
+a sombre expression, always a <span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span>mystery to his subjects, who, when they saw
+him appear, never knew whether to say &#8216;<i>Vive le roi!</i>&#8217; or to pray for his
+soul. He was dressed in black, without jewels or orders, and a single
+diamond shone in his cap, serving as a fastening to three short plumes. He
+carried in his hand a little black dog that his sister-in-law, Marie
+Stuart, had sent him from her prison, and on which his fingers looked as
+white as alabaster.</p>
+
+<p>&#8220;Behind the king came Catherine de Medici, almost bowed by age, for she
+might be sixty-six or sixty-seven, but still carrying her head firm and
+erect, and darting bitter glances from under her thick eyebrows. At her
+side appeared the melancholy but sweet face of the queen, Louise de
+Touraine. Catherine came as a triumph, she as a punishment. Behind them
+came two handsome young men, brothers, the eldest of whom smiled with
+wonderful beauty, and the younger with great melancholy. The one was Anne,
+Duc de Joyeuse, and the other Henri de Joyeuse, Comte de Bouchage. The
+people had for these favourites of the king none of the hatred which they
+had felt toward Maugiron, Quelus, and Schomberg.</p>
+
+<p>&#8220;Henri saluted the people gravely; then, turning to the young men, he
+said, &#8216;Anne, lean against the tapestry; it may last a long time.&#8217;...</p>
+
+<p><span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span>&#8220;Henri, in anger, gave the sign. It was repeated, the cords were
+refastened, four men jumped on the horses, which, urged by violent blows,
+started off in opposite directions. A horrible cracking and a terrible cry
+was heard. The blood was seen to spout from the limbs of the unhappy man,
+whose face was no longer that of a man, but of a demon.</p>
+
+<p>&#8220;&#8216;Ah, heaven!&#8217; he cried; &#8216;I will speak, I will tell all. Ah! cursed
+duch&mdash;&#8217;</p>
+
+<p>&#8220;The voice had been heard above everything, but suddenly it ceased.</p>
+
+<p>&#8220;&#8216;Stop, stop,&#8217; cried Catherine, &#8216;let him speak.&#8217;</p>
+
+<p>&#8220;But it was too late; the head of Salc&egrave;de fell helplessly on one side, he
+glanced once more to where he had seen the page, and then expired.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Near the H&ocirc;tel de Ville is &#8220;Le Ch&acirc;telet,&#8221; a name familiar enough to
+travellers about Paris. It is an omnibus centre, a station on the new
+&#8220;Metropolitan,&#8221; and its name has been given to one of the most modern
+theatres of Paris.</p>
+
+<p>Dumas, in &#8220;Le Collier de la Reine,&#8221; makes but little use of the old Prison
+du Grand Ch&acirc;telet, but he does not ignore it altogether, which seems to
+point to the fact that he has neglected very few historic buildings, or,
+for that matter, incidents of<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span> Paris in medi&aelig;val times, in compiling the
+famous D&#8217;Artagnan and Valois romances.</p>
+
+<p>The Place du Ch&acirc;telet is one of the most celebrated and historic open
+spots of Paris. The old prison was on the site of an old C&aelig;sarian forum.
+The prison was destroyed in 1806, but its history for seven centuries was
+one of the most dramatic.</p>
+
+<p>One may search for Planchet&#8217;s shop, the &#8220;Pilon d&#8217;Or,&#8221; of which Dumas
+writes in &#8220;The Vicomte de Bragelonne,&#8221; in the Rue des Lombards of to-day,
+but he will not find it, though there are a dozen <i>boutiques</i> in the
+little street which joins the present Rue St. Denis with the present
+Boulevard Sebastopol, which to all intents and purposes might as well have
+been the abode of D&#8217;Artagnan&#8217;s old servitor.</p>
+
+<p>The Rue des Lombards, like Lombard Street in London, took its names from
+the original money-changers, who gathered here in great numbers in the
+twelfth century. Planchet&#8217;s little shop was devoted to the sale of green
+groceries, with, presumably, a sprinkling of other attendant garnishings
+for the table.</p>
+
+<p>To-day, the most notable of the shops here, of a similar character, is the
+famous <i>magasin de confiserie</i>, &#8220;Au Fid&egrave;le Berger,&#8221; for which Guilbert,
+the author of &#8220;Jeune Malade,&#8221; made the original verses<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span> for the wrappers
+which covered the products of the house. A contemporary of the poet has
+said that the &#8220;<i>enveloppe &eacute;tait moins bonne que la marchandaise</i>.&#8221;</p>
+
+<p>The reader may judge for himself. This is one of the verses:</p>
+
+<p class="poem">&#8220;Le soleil peut s&#8217;eteindre et le ciel s&#8217;obscurcir,<br />
+J&#8217;ai vu ma Marita, je n&#8217;ai plus qu&#8217;&agrave; mourir.&#8221;</p>
+
+<p>Every lover of Dumas&#8217; romances, and all who feel as though at one time or
+another they had been blessed with an intimate acquaintance with that
+&#8220;King of Cavaliers,&#8221;&mdash;D&#8217;Artagnan,&mdash;will have a fondness for the old narrow
+ways in the Rue d&#8217;Arbre Sec, which remains to-day much as it always was.</p>
+
+<p>It runs from the Quai de l&#8217;H&ocirc;tel de Ville,&mdash;once the unsavoury Quai de la
+Gr&egrave;ve,&mdash;toward Les Halles; and throughout its length, which is not very
+great, it has that crazy, tumble-down appearance which comes, sooner or
+later, to most narrow thoroughfares of medi&aelig;val times.</p>
+
+<p>It is not so very picturesque nor so very tumble-down, it is simply
+wobbly. It is not, nor ever was, a pretentious thoroughfare, and, in
+short, is distinctly commonplace; but there is a little house, on the
+right-hand side, near the river, which will<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span> be famous as long as it
+stands, as the intimate scene of much of the minor action of &#8220;Marguerite
+de Valois,&#8221; &#8220;Chicot the Jester,&#8221; and others of the series.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 328px; height: 500px;"><img src="images/fp_206.jpg" alt="" /></div>
+<p class="center">H&Ocirc;TEL DES MOUSQUETAIRES, RUE D&#8217;ARBRE SEC</p>
+<p>&nbsp;</p>
+
+<p>This <i>maison</i> is rather better off than most of its neighbours, with its
+white-fronted lower stories, its little balcony over the Cr&eacute;merie, which
+now occupies the ground-floor, and its escutcheon&mdash;a blazing sun&mdash;midway
+in its fa&ccedil;ade.</p>
+
+<p>Moreover it is still a lodging-house,&mdash;an humble hotel if you like,&mdash;at
+any rate something more than a mere house which offers &#8220;<i>logement &agrave;
+pied</i>.&#8221; Indeed its enterprising proprietor has erected a staring blue and
+white enamel sign which advertises his house:</p>
+
+<div class="sign"><p class="center">H&Ocirc;TEL<br />DES MOUSQUETAIRES</p></div>
+
+<p>There is, perhaps, no harm in all this, as it would seem beyond all
+question to have some justification for its name, and it is above all
+something more tangible than the sites of many homes and haunts which may
+to-day be occupied with a modern <i>magasin</i>, <i>&agrave; tous g&eacute;nres</i>, or a great
+tourist caravanserai.</p>
+
+<p>This house bears the name of &#8220;H&ocirc;tel des <span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span>Mousquetaires,&#8221; as if it were
+really a lineal descendant of the &#8220;H&ocirc;tel de la Belle Etoile,&#8221; of which
+Dumas writes.</p>
+
+<p>Probably it is not the same, and if it is, there is, likely enough, no
+significance between its present name and its former glory save that of
+perspicacity on the part of the present patron.</p>
+
+<p>From the romance one learns how Catherine de Medici sought to obtain that
+compromising note which was in possession of Orthon, the page. Dumas says
+of this horror-chamber of the Louvre:</p>
+
+<p>&#8220;Catherine now reached a second door, which, revolving on its hinges,
+admitted to the depths of the <i>oubliette</i>, where&mdash;crushed, bleeding, and
+mutilated, by a fall of more than one hundred feet&mdash;lay the still
+palpitating form of poor Orthon; while, on the other side of the wall
+forming the barrier of this dreadful spot, the waters of the Seine were
+heard to ripple by, brought by a species of subterraneous filtration to
+the foot of the staircase.</p>
+
+<p>&#8220;Having reached the damp and unwholesome abyss, which, during her reign,
+had witnessed numerous similar scenes to that now enacted, Catherine
+proceeded to search the corpse, eagerly drew forth the desired billet,
+ascertained by the lantern that it was the one she sought, then, pushing
+the mangled body from her, she pressed a spring, the<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> bottom of the
+<i>oubliette</i> sank down, and the corpse, borne by its own weight,
+disappeared toward the river.</p>
+
+<p>&#8220;Closing the door after her, she reascended; and, returning to her closet,
+read the paper poor Orthon had so valiantly defended. It was conceived in
+these words:</p>
+
+<div class="blockquot"><p>&#8220;&#8216;This evening at ten o&#8217;clock, Rue de l&#8217;Arbre-Sec, H&ocirc;tel de la Belle
+Etoile. Should you come, no reply is requisite; if otherwise, send
+word back, <i>No</i>, by the bearer.</p>
+
+<p class="right">&#8220;&#8216;<span class="smcap">De Mouy de Saint-Phale.</span>&#8217;</p></div>
+
+<p>&#8220;At eight o&#8217;clock Henri of Navarre took two of his gentlemen, went out by
+the Porte St. Honor&eacute;, entered again by the Tour de Bois, crossed the Seine
+at the ferry of the Nesle, mounted the Rue St. Jacques, and there
+dismissed them, as if he were going to an amorous rendezvous. At the
+corner of the Rue des Mathurins he found a man on horseback, wrapped in a
+large cloak; he approached him.</p>
+
+<p>&#8220;&#8216;Mantes!&#8217; said the man.</p>
+
+<p>&#8220;&#8216;Pau!&#8217; replied the king.</p>
+
+<p>&#8220;The horseman instantly dismounted. Henri wrapped himself in his splashed
+mantle, sprang on his steed, rode down the Rue de la Harpe, crossed the
+Pont St. Michel, passed the Rue Barthelemy,<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> crossed the river again on
+the Pont au Meunier, descended the quais, reached the Rue de l&#8217;Arbre-Sec,
+and knocked at Ma&icirc;tre la Huri&egrave;re&#8217;s.&#8221;</p>
+
+<p>The route is easily traced to-day, and at the end of it is the H&ocirc;tel des
+Mousquetaires, so it will not take much imagination to revivify the
+incident which Dumas conceived, though one may not get there that &#8220;good
+wine of Artois&#8221; which the innkeeper, La Huri&egrave;re, served to Henri.</p>
+
+<p>The circumstance is recounted in &#8220;Marguerite de Valois,&#8221; as follows:</p>
+
+<p>&#8220;&#8216;La Huri&egrave;re, here is a gentleman wants you.&#8217;</p>
+
+<p>&#8220;La Huri&egrave;re advanced, and looked at Henri; and, as his large cloak did not
+inspire him with very great veneration:</p>
+
+<p>&#8220;&#8216;Who are you?&#8217; asked he.</p>
+
+<p>&#8220;&#8216;Eh, <i>sang Dieu</i>!&#8217; returned Henri, pointing to La Mole. &#8216;I am, as the
+gentleman told you, a Gascon gentleman come to court.&#8217;</p>
+
+<p>&#8220;&#8216;What do you want?&#8217;</p>
+
+<p>&#8220;&#8216;A room and supper.&#8217;</p>
+
+<p>&#8220;&#8216;I do not let a room to any one, unless he has a lackey.&#8217;</p>
+
+<p>&#8220;&#8216;Oh, but I will pay you a rose noble for your room and supper.&#8217;</p>
+
+<p>&#8220;&#8216;You are very generous, worthy sir,&#8217; said La Huri&egrave;re, with some distrust.</p>
+
+<p><span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span>&#8220;&#8216;No; but expecting to sup here, I invited a friend of mine to meet me.
+Have you any good wine of Artois?&#8217;</p>
+
+<p>&#8220;&#8216;I have as good as the King of Navarre drinks.&#8217;</p>
+
+<p>&#8220;&#8216;Ah, good!&#8217;&#8221;</p>
+
+<p>The Rue de l&#8217;Arbre-Sec is of itself historic, though it was baptized as
+l&#8217;Arbre-Sel. Two legends of more than ordinary interest are connected with
+this once important though unimposing street. The first applies to its
+early nomenclature, and is to the effect that in the thirteenth century it
+contained an oak-tree, which, in the snows of winter, always remained free
+of the white blanket which otherwise covered everything around about. For
+this reason the tree was said to be so full of salt that the snow that
+fell upon it melted immediately, and the name was created for the
+thoroughfare, which then first rose to the dignity of a recognized <i>rue</i>.</p>
+
+<p>The second legend in a similar way accounts for the change of name to
+<i>arbre-sec</i>. At a certain rainy period, when the pavements and the walls
+of the houses were &#8220;<i>ruisselants d&#8217;eau</i>,&#8221; the same tree remained
+absolutely dry. It is curious, too, to note that the Rue de l&#8217;Arbre-Sec is
+identified with a certain personage who lived in Mazarin&#8217;s time, by the
+name of Mathieu Moll&eacute;, whose fame as the first president of the
+<i>Parlement</i> is preserved in the<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span> neighbouring Rue Mathieu Moll&eacute;. It was in
+the hotel of &#8220;La Belle Etoile&#8221; that Dumas ensconced his character De la
+Mole&mdash;showing once again that Dumas dealt with very real characters.</p>
+
+<p>Opposite the colonnade of the Louvre is the &Eacute;glise St. Germain
+l&#8217;Auxerrois. From this church&mdash;founded by Childebert in 606&mdash;rang out the
+tocsin which was the signal for that infamous massacre of the Protestants
+in the time of Charles IX. In &#8220;Marguerite de Valois&#8221; Dumas has vividly
+described the event; not, perhaps, without certain embroidered
+embellishment, but, nevertheless, with a graphicness which the dry-as-dust
+historian of fact could hardly hope to equal.</p>
+
+<p>This cruel inspiration of Catherine de Medici&#8217;s is recorded by Dumas thus:</p>
+
+<p>&#8220;&#8216;Hush!&#8217; said La Huri&egrave;re.</p>
+
+<p>&#8220;&#8216;What is it?&#8217; inquired Coconnas and Maurevel together.</p>
+
+<p>&#8220;They heard the first stroke of the bell of St. Germain de l&#8217;Auxerrois
+vibrate.</p>
+
+<p>&#8220;&#8216;The signal!&#8217; exclaimed Maurevel. &#8216;The time is put ahead, for it was
+agreed for midnight. So much the better. When it is the interest of God
+and the king, it is better that the clock should be put forward than
+backward.&#8217; And the sinister sound of the church-bell was distinctly heard.
+Then<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span> a shot was fired, and, in an instant, the light of several flambeaux
+blazed up like flashes of lightning in the Rue de l&#8217;Arbre-Sec.&#8221;</p>
+
+<p>There is much more of moment that happened before and afterward &#8220;on this
+bloody ground;&#8221; all of which is fully recounted by the historians.</p>
+
+<hr style="width: 25%;" />
+
+<p>At No. 7 Rue du Helder, just off the Boulevard des Italiens, in a region
+so well known to Dumas and his associates, lived De Franchi, the hero of
+the &#8220;Corsican Brothers.&#8221; The <i>locale</i> and the action of that rapid review
+of emotions to which Dumas gave the name of the &#8220;Corsican Brothers&#8221; (&#8220;Les
+Fr&egrave;res du Corse&#8221;), was not of the mean or sordid order, but rather of the
+well-to-do, a sort of semi-luxuriousness of the middle-class life of the
+time.</p>
+
+<p>The scene of the novelette bears the date of 1841, and Paris, especially
+in many of what are known as the newer parts, has changed but little
+since. A new shop-front here and there, the addition of a huge gilt sign,
+of which the proprietors of Parisian establishments are so fond, somewhat
+changes the outside aspect of things, but, on the whole, the <i>locale</i>
+often remains much as it was before, and, in this case, with but scarce
+three-quarters of a century past, the view down the Rue<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span> du Helder from
+its junction with Rue Taitbout differs little.</p>
+
+<p>&#8220;H&ocirc;tel Picardie,&#8221; in the Rue Tiquetonne,&mdash;still to be seen,&mdash;may or may
+not be the &#8220;La Chevrette&#8221; of &#8220;Twenty Years After,&#8221; to which D&#8217;Artagnan
+repaired in the later years of his life. D&#8217;Artagnan&#8217;s residence in the Rue
+Tiquetonne has, in the minds of many, made the street famous. It was
+famous, though, even before it was popularized by Dumas, and now that we
+are not able even to place the inn where D&#8217;Artagnan lived after he had
+retired from active service&mdash;it is still famous.</p>
+
+<p>At No. 12 and 16 are two grand habitations of former times. The former
+served as a residence to Henri de Talleyrand, who died in 1626, and later
+to the Marquis de Mauge, then to Daubonne, a <i>tapissier</i>, much in the
+favour of Louis XIII.</p>
+
+<p>The other is known as the &#8220;H&ocirc;tel d&#8217;Artagnan,&#8221; but it is difficult to trace
+its evolution from the comfortable inn of which Dumas wrote.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 391px; height: 500px;"><img src="images/fp_214.jpg" alt="" /></div>
+<p class="center">D&#8217;ARTAGNAN&#8217;S LODGINGS, RUE TIQUETONNE</p>
+<p>&nbsp;</p>
+
+<p>At No. 23 is about the only <i>relique</i> left which bespeaks the gallant days
+of D&#8217;Artagnan and his fellows. It is a square tower of five <i>&eacute;tages</i>, and,
+from the character of its architecture, we know it to be of the fourteenth
+or fifteenth century. It is known as the &#8220;Tour de Jean-sans-Peur.&#8221;
+<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span>Jean-sans-Peur was the grandfather of Charles-le-T&eacute;m&eacute;raire. Monstrelet
+has said that it was built to contain a strong chamber, in which its owner
+might sleep safely at night. It formed originally a part of the H&ocirc;tel de
+Bourgogne, but to-day, though but partially disengaged from the
+neighbouring houses, it is evidently the only member of the original
+establishment which remains.</p>
+
+<p>Not far from the precincts of the Louvre was the Rue de la Martellerie,
+where lived Marie Touchet.</p>
+
+<p>The portraiture of Dumas forms a wonderfully complete list of the
+royalties and nobilities of France. Both the D&#8217;Artagnan gallery and the
+Valois series literally reek with the names of celebrated personages, and
+this, too, in the mere romances, for it must be remembered that, in spite
+of his reputation as a romancist, Dumas&#8217; historical sketches and travels
+were both numerous and of great extent.</p>
+
+<p>One significant portrait, though it is not one of noble birth, is that of
+Marie Touchet, extracted from &#8220;Marguerite de Valois,&#8221; and reprinted here.</p>
+
+<p>&#8220;When Charles IX. and Henri of Navarre visited the Rue de la Martellerie,
+it was to see the celebrated Marie, who, though &#8216;only a poor, simple
+girl,&#8217; as she referred to herself, was the Eve of Charles&#8217; <span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span>paradise.
+&#8216;Your Eden, Sire,&#8217; said the gallant Henri.</p>
+
+<p>&#8220;&#8216;Dearest Marie,&#8217; said Charles, &#8216;I have brought you another king happier
+than myself, for he has no crown; more unhappy than me, for he has no
+Marie Touchet.&#8217;</p>
+
+<p>&#8220;&#8216;Sire, it is, then, the King of Navarre?&#8217;</p>
+
+<p>&#8220;&#8216;It is, love.&#8217;</p>
+
+<p>&#8220;Henri went toward her, and Charles took his right hand.</p>
+
+<p>&#8220;&#8216;Look at this hand, Marie,&#8217; said he; &#8216;it is the hand of a good brother
+and a loyal friend; and but for this hand&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Well, Sire!&#8217;</p>
+
+<p>&#8220;&#8216;But for this hand, this day, Marie, our boy had been fatherless.&#8217;</p>
+
+<p>&#8220;Marie uttered a cry, seized Henri&#8217;s hand, and kissed it.</p>
+
+<p>&#8220;The king went to the bed where the child was still asleep.</p>
+
+<p>&#8220;&#8216;Eh!&#8217; said he, &#8216;if this stout boy slept in the Louvre, instead of
+sleeping in this small house, he would change the aspect of things at
+present, and perhaps for the future.&#8217;</p>
+
+<p>&#8220;&#8216;Sire,&#8217; said Marie, &#8216;without offence to your Majesty, I prefer his
+sleeping here; he sleeps better.&#8217;&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span>This illustrates only one phase of Dumas&#8217; power of portraiture, based on
+historical fact, of course, and casting no new light on matters which are
+otherwise well known, but still a very fresh and vivifying method of
+projecting the features of those famous in the history of France, and a
+method, perhaps, which will serve to impress them upon the reader in a
+more nearly indelible fashion than any other.</p>
+
+<p>&#8220;It was this child of Marie Touchet and Charles IX. who afterward was the
+famous Duke d&#8217;Angoul&ecirc;me, who died in 1650; and, had he been legitimate,
+would have taken precedence of Henri III., Henri IV., Louis XIII., Louis
+XIV., etc., and altered the whole line of the royal succession of France.&#8221;</p>
+
+<p>It was a pleasurable visit for all three, that of which Dumas writes.</p>
+
+<p>Charles, Henri, and Marie supped together, and the accomplished Prince of
+B&eacute;arn made the famous anagram from the letters of the lady&#8217;s name, &#8220;<i>Je
+charme tout</i>,&#8221; which Charles declared he would present to her worked in
+diamonds, and that it should be her motto.</p>
+
+<p>History does not state that he did so, but no doubt that was a detail
+which the chroniclers have<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span> overlooked, or, of course, it may have been an
+interpolation of Dumas&#8217;.</p>
+
+<hr style="width: 25%;" />
+
+<p>Dumas&#8217; pen-pictures of the great Napoleon&mdash;whom he referred to as &#8220;The
+Ogre of Corsica&#8221;&mdash;will hardly please the great Corsican&#8217;s admirers, though
+it is in no manner contemptuous. The following is from &#8220;The Count of Monte
+Cristo&#8221;:</p>
+
+<p>&#8220;&#8216;Monsieur,&#8217; said the baron to the count, &#8216;all the servants of his Majesty
+must approve of the latest intelligence which we have from the island of
+Elba. Bonaparte&mdash;&#8217; M. Dandr&eacute; looked at Louis XVIII., who, employed in
+writing a note, did not even raise his head. &#8216;Bonaparte,&#8217; continued the
+baron, &#8216;is mortally wearied, and passes whole days in watching his miners
+at work at Porto-Longone.&#8217;</p>
+
+<p>&#8220;&#8216;And scratches himself for amusement,&#8217; added the king.</p>
+
+<p>&#8220;&#8216;Scratches himself?&#8217; inquired the count. &#8216;What does your Majesty mean?&#8217;</p>
+
+<p>&#8220;&#8216;Yes, indeed, my dear count. Did you forget that this great man, this
+hero, this demigod, is attacked with a malady of the skin which worries
+him to death, <i>prurigo</i>?&#8217;</p>
+
+<p>&#8220;&#8216;And, moreover, M. le Comte,&#8217; continued the<span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>
+minister of police, &#8216;we are almost assured that, in a very short time, the usurper will be insane.&#8217;</p>
+
+<p>&#8220;&#8216;Insane?&#8217;</p>
+
+<p>&#8220;&#8216;Insane to a degree; his head becomes weaker. Sometimes he weeps
+bitterly, sometimes laughs boisterously; at other times he passes hours on
+the seashore, flinging stones in the water, and when the flint makes
+&#8220;ducks and drakes&#8221; five or six times, he appears as delighted as if he had
+gained another Marengo or Austerlitz. Now, you must agree these are
+indubitable symptoms of weakness?&#8217;</p>
+
+<p>&#8220;&#8216;Or of wisdom, M. le Baron&mdash;or of wisdom,&#8217; said Louis XVIII., laughing;
+&#8216;the greatest captains of antiquity recreated themselves with casting
+pebbles into the ocean&mdash;see Plutarch&#8217;s life of Scipio Africanus.&#8217;&#8221;</p>
+
+<p>Again, from the same work, the following estimate of Napoleon&#8217;s position
+at Elba was, if not original, at least opinionated:</p>
+
+<p>&#8220;The emperor, now king of the petty isle of Elba, after having held
+sovereign sway over one-half of the world, counting us, his subjects, a
+small population of twenty millions,&mdash;after having been accustomed to hear
+the &#8216;<i>Vive Napol&eacute;ons</i>&#8217; of at least six times that number of human beings,
+uttered in nearly every language of the globe,&mdash;was looked upon among the
+<i>haute soci&eacute;t&eacute;</i> of Marseilles as a <span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span>ruined man, separated for ever from
+any fresh connection with France or claim to her throne.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Firstly the Faubourg St. Denis is associated with Dumas&#8217; early life in
+Paris. He lived at No. 53 of the Rue du Faubourg St. Denis in 1824.</p>
+
+<p>When one walks past the Porte St. Denis and looks up at that
+seventeenth-century arch of triumph, built to commemorate the German
+victories of Louis Quatorze, one just misses the historical significance
+and architectural fitness of the arch. It is not merely an incident in the
+boulevard. It belongs not so much to the newer boulevard, as to the
+ancient Rue St. Denis, and it is only by proceeding some distance up this
+street, the ancient route of the pilgrims to the tomb of the saint, that
+the meaning of the Porte St. Denis can truly be appreciated. The arch may
+be heavy,&mdash;it has been described as hideous, and it truly is,&mdash;but seen in
+the Rue St. Denis, whose roadway passes under it, it forms a typical view
+even to-day of Old Paris, and of the Paris which entered so largely into
+Dumas&#8217; romances of the Louis.</p>
+
+<p>The more ancient Porte St. Denis, the gateway which lay between the
+faubourg, the plain, and the ville, performed a function quite different
+from that of the Renaissance gateway which exists to-day;<span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span> in just what
+manner will be readily inferred when it is recalled that, with the Porte
+St. Antoine, the Porte St. Denis was the scene of much riot and bloodshed
+in the early history of Paris.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 358px;"><img src="images/fp_220.jpg" alt="" /></div>
+<p class="center">109 RUE DU FAUBOURG ST. DENIS (D&Eacute;SCAMPS&#8217; STUDIO)</p>
+<p>&nbsp;</p>
+
+<p>There are no tram-cars or omnibuses passing through its arch, as through
+the Place du Carrousel, or the courtyards of the Louvre, to take away the
+sentiment of romance; though the traffic which swirls and eddies around
+its sturdy piers and walls is of a manifest up-to-date, twentieth-century
+variety.</p>
+
+<p>Through its great arch runs the Rue du Faubourg St. Denis, where, at No.
+109, was the studio of Gabriel D&eacute;scamps, celebrated in &#8220;Capitaine
+Pamphile.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>In &#8220;Marguerite de Valois&#8221; we have a graphic reference&mdash;though rather more
+sentimental than was the author&#8217;s wont&mdash;to the Cimeti&egrave;re des Innocents:</p>
+
+<p>&#8220;On the day which succeeded that terrible massacre of St. Bartholomew&#8217;s
+night, in 1572, a hawthorn-tree,&#8221; said Dumas, and it is also recognized
+history, as well, &#8220;which had blossomed in the spring, and which, according
+to custom, had lost its odorous flower in the month of June, had strangely
+reblossomed during the night, and the Catholics, who<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span> saw in this even a
+miracle, and who by rendering this miracle popular made the Deity their
+accomplice, went in procession, cross and banner at their head, to the
+Cemetery of the Innocents, where this hawthorn was blooming.&#8221;</p>
+
+<p>Amidst the cries of &#8220;<i>Vive le roi!</i>&#8221; &#8220;<i>Vive la messe!</i>&#8221; &#8220;<i>Mort aux
+Huguenots</i>,&#8221; the accomplished Marguerite herself went to witness the
+phenomenon.</p>
+
+<p>&#8220;When they reached the top of the Rue des Prouvelles, they met some men
+who were dragging a carcass without any head. It was that of &#8216;the admiral&#8217;
+(Coligny).... The men were going to hang it by the feet at Montfaucon....&#8221;</p>
+
+<p>&#8220;They entered the Cemetery of St. Innocents, and the clergy, forewarned of
+the visit of the king and the queen mother, awaited their Majesties to
+harangue them.&#8221;</p>
+
+<p>The cemetery&mdash;or signs of it&mdash;have now disappeared, though the mortal
+victims of the massacre, and countless other souls besides, rest beneath
+the flagstones adjacent to Les Halles, the great market-house of Paris.</p>
+
+<p>The Fontaine des Innocents formerly marked the site, but now it is removed
+to the other side of Les Halles.</p>
+
+<p>This graceful Renaissance fountain was first erected in 1550, from designs
+of Pierre Lescot and<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span> Jean Goujon. It stood formerly before the &Eacute;glise des
+Innocents, which was demolished in 1783.</p>
+
+<p>The Fontaine des Innocents, in spite of its migrations, is a charming
+oasis of green trees and running water, in the midst of the rather
+encumbered market-square of Les Halles. Not that the region around about
+is at all unsavoury; far from it. There is d&eacute;bris of green vegetables and
+ripe fruits everywhere about, but it has not yet reached the unsavoury
+stage; before it does all will be swept away, and on the morrow the
+clamour and traffic will start fresh anew.</p>
+
+<p>The Place Royale, now called the Place des Vosges, is so largely
+identified with &#8220;La Comtesse de Charny&#8221; that no special mention can well
+be made of any action which here took place.</p>
+
+<p>At No. 21, now of course long since departed, lived &#8220;a gentleman entirely
+devoted to your Majesty,&#8221; said Dumas, and the adventuress, Lady de Winter,
+whom D&#8217;Artagnan was wont to visit, was given domicile by Dumas at No. 6.
+Likely enough it was her true residence, though there is no opportunity of
+tracing it to-day, and one perforce must be satisfied with locating the
+houses of Madame de S&eacute;vign&eacute; and Victor Hugo, each of which bear tablets to
+that effect.</p>
+
+<p>The Place des Vosges is a charming square,<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span> reminiscent, in a way, of the
+courtyard of the Palais Royal, though lacking its splendour. The iron
+gateway to the central garden was a gift of Louis XIV., in 1685, when the
+square was known as the Place Royale. Richelieu caused to be set up here a
+magnificent equestrian statue of Louis XIII., which, however, was
+overturned in the Revolution, though it has since been replaced by another
+statue. The horse was the work of Ricciarelli de Volterre, a pupil of
+Michelangelo, and the figure was by Biard.</p>
+
+<p>The first great historical event held here was the <i>carrousel</i> given in
+1612, two years after the tragic death of Henri IV. at the hands of the
+assassin Ravaillac. It was a function of Marie de Medici&#8217;s to celebrate
+the alliance of France and Spain.</p>
+
+<p>Under Richelieu, the place became a celebrated duelling-ground, the most
+famous duel being that between the Duc de Guise and Coligny <i>fils</i>, the
+son of the admiral.</p>
+
+<p>The Place Royale soon became the most fashionable <i>quartier</i>, the houses
+around about being greatly in demand of the <i>noblesse</i>.</p>
+
+<p>Among its illustrious inhabitants have been the Rohans, the D&#8217;Al&eacute;gres,
+Corneille, Cond&eacute;, St. Vincent de Paul, Moli&egrave;re, Turenne, Madame de
+Longueville, Cinq-Mars, and Richelieu.</p>
+
+<p><span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span>By <i>un arr&ecirc;t&eacute;</i> of the 17th Ventose, year VII., it was declared that the
+name of the department which should pay the largest part of its
+contributions by the 20th Germinal would be given to that of the principal
+place or square of Paris. The Department of the Vosges was the first to
+pay up, and the Place Royale became the Place des Vosges.</p>
+
+<p>A great deal of the action of the D&#8217;Artagnan romances took place in the
+Place Royale, and in the neighbouring <i>quartiers</i> of St. Antoine and La
+Bastille, the place being the scene of the notable reunion of the four
+gallants in &#8220;Vingt Ans Apr&egrave;s.&#8221;</p>
+
+<p>La Roquette, the prison, has disappeared, like the Bastille itself, but
+they are both perpetuated to-day, the former in the Rue Roquette, and the
+latter in the Place de la Bastille.</p>
+
+<p>Dumas does not project their horrors unduly, though the Bastille crops up
+in many of the chapters of the Valois romances, and one entire volume is
+devoted to &#8220;The Taking of the Bastille.&#8221;</p>
+
+<p>D&#8217;Artagnan himself was doomed, by an order of arrest issued by Richelieu,
+to be incarcerated therein; but the gallant <i>mousquetaire</i>, by a subtle
+scheme, got hold of the warrant and made a present of it to the intriguing
+cardinal himself.</p>
+
+<p>The sombre and sinister guillotine, since become so famous, is made by
+Dumas subject of a weirdly<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span> fascinating chapter in &#8220;La Comtesse de
+Charny.&#8221; Dumas&#8217; description is as follows:</p>
+
+<p>&#8220;When Guilbert got out of the carriage he saw that he was in the court of
+a prison, and at once recognized it as the Bic&ecirc;tre. A fine misty rain fell
+diagonally and stained the gray walls. In the middle of the court five or
+six carpenters, under the direction of a master workman, and a little man
+clad in black, who seemed to direct everybody, put a machine of a hitherto
+strange and unknown form. Guilbert shuddered; he recognized Doctor
+Guillotin, and the machine itself was the one of which he had seen a model
+in the cellar of the editor of &#8216;<i>l&#8217;ami du peuple</i>.&#8217;... The very workmen
+were as yet ignorant of the secret of this novel machine. &#8216;There,&#8217; said
+Doctor Guillotin, ... &#8216;it is now only necessary to put the knife in the
+groove.&#8217;... This was the form of the machine: a platform fifteen feet
+square, reached by a simple staircase, on each side of this platform two
+grooved uprights, ten or twelve feet high. In the grooves slid a kind of
+crescent-shaped knife. A little opening was made between two beams,
+through which a man&#8217;s head could be passed.... &#8216;Gentlemen,&#8217; said
+Guillotin, &#8216;all being here, we will begin.&#8217;&#8221;</p>
+
+<p>Then follows the same vivid record of executing and blood-spurting that
+has attracted many other<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> writers perhaps as gifted as Dumas, but none
+have told it more graphically, simply, or truthfully.</p>
+
+<hr style="width: 25%;" />
+
+<p>Every one knows the Mount of Martyrs, its history, and its modern aspect,
+which has sadly degenerated of late.</p>
+
+<p>To-day it is simply a hilltop of cheap gaiety, whose patrons are catered
+for by the Moulin Rouge, the Moulin de la Galette, and a score of
+&#8220;eccentric caf&eacute;s,&#8221; though its past is burdened with Christian tragedy. Up
+its slope St. Denis is fabulously supposed to have carried his head after
+his martyrdom, and the quiet, almost forlorn Rue St. Eleuth&egrave;re still
+perpetuates the name of his companion in misery. Long afterward, in the
+chapel erected on this spot, Ignatius Loyola and his companions solemnly
+vowed themselves to their great work. So here on sinful Montmartre, above
+Paris, was born the Society of Jesus. The Revolution saw another band of
+martyrs, when the nuns of the Abbaye de Montmartre, old and young, chanted
+their progress to the guillotine, and little more than thirty years ago
+the Commune precipitated its terrible struggle in Montmartre. It was in
+the Rue des Rosiers, on the 18th of March, 1871, that the blood of
+Generals Lecomte and Cl&eacute;ment-Thomas was shed.</p>
+
+<p><span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span>Hard by, in the Parc Monceau, is the statue of Guy de Maupassant, and so
+the memory of the sinful mount is perpetuated to us.</p>
+
+<p>Dumas did not make the use of this banal attribute of Paris that many
+other realists and romancists alike have done, but he frequently refers to
+it in his &#8220;M&eacute;moires.&#8221;</p>
+
+<p>Madame de la Motte, the scheming adventuress of the &#8220;Collier de la Reine,&#8221;
+lived at No. 57 Rue Charlot, in the Quartier des Infants-Rouges. It was
+here, at the H&ocirc;tel Boulainvilliers, where the Marquise de Boulainvilliers
+brought up the young girl of the blood royal of the Valois, who afterward
+became known as Madame de la Motte.</p>
+
+<p>Near by, in the same street, is the superb h&ocirc;tel of Gabrielle d&#8217;Estr&eacute;es,
+who herself was not altogether unknown to the court. The Rue de Valois,
+leading from the Rue St. Honor&eacute; to the Rue Beaujolais, beside the Palais
+Royal, as might be supposed, especially appealed to Dumas, and he laid one
+of the most cheerful scenes of the &#8220;Chevalier d&#8217;Harmental&#8221; in the hotel,
+No. 10, built by Richelieu for L&#8217;Abb&eacute; Metel de Bois-Robert, the founder of
+the Acad&eacute;mie Fran&ccedil;aise.</p>
+
+<p>Off the Rue Sourdi&egrave;re, was the Couloir St. Hyacinthe, where lived Jean
+Paul Marat&mdash;&#8220;the friend of the people,&#8221; whose description by Dumas,<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span> in
+&#8220;La Comtesse de Charny,&#8221; does not differ greatly from others of this
+notorious person.</p>
+
+<p>In the early pages of &#8220;The Count of Monte Cristo,&#8221; one&#8217;s attention is
+transferred from Marseilles to Paris, to No. 13 Rue Coq-H&eacute;ron, where lived
+M. Noirtier, to whom the luckless Dant&egrave;s was commissioned to deliver the
+fateful packet, which was left in his care by the dying Captain Leclerc.</p>
+
+<p>The incident of the handing over of this letter to the d&eacute;put&eacute; procureur du
+roi is recounted thus by Dumas:</p>
+
+<p>&#8220;&#8216;Stop a moment,&#8217; said the deputy, as Dant&egrave;s took his hat and gloves. &#8216;To
+whom is it addressed?&#8217;</p>
+
+<p>&#8220;&#8216;To M. Noirtier, Rue Coq-H&eacute;ron, Paris.&#8217; Had a thunderbolt fallen into the
+room, Villefort could not have been more stupefied. He sank into his seat,
+and, hastily turning over the packet, drew forth the fatal letter, at
+which he glanced with an expression of terror.</p>
+
+<p>&#8220;&#8216;M. Noirtier, Rue Coq-H&eacute;ron, No. 13,&#8217; murmured he, growing still paler.</p>
+
+<p>&#8220;&#8216;Yes,&#8217; said Dant&egrave;s; &#8216;do you then know him?&#8217;</p>
+
+<p>&#8220;&#8216;No,&#8217; replied Villefort; &#8216;a faithful servant of the king does not know
+conspirators.&#8217;</p>
+
+<p>&#8220;&#8216;It is a conspiracy, then?&#8217; asked Dant&egrave;s, who,<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span> after believing himself
+free, now began to feel a tenfold alarm. &#8216;I have already told you,
+however, sir, I was ignorant of the contents of the letter.&#8217;</p>
+
+<p>&#8220;&#8216;Yes, but you knew the name of the person to whom it was addressed,&#8217; said
+Villefort.</p>
+
+<p>&#8220;&#8216;I was forced to read the address to know to whom to give it.&#8217;</p>
+
+<p>&#8220;&#8216;Have you shown this letter to any one?&#8217; asked Villefort, becoming still
+more pale.</p>
+
+<p>&#8220;&#8216;To no one, on my honour.&#8217;</p>
+
+<p>&#8220;&#8216;Everybody is ignorant that you are the bearer of a letter from the isle
+of Elba, and addressed to M. Noirtier?&#8217;</p>
+
+<p>&#8220;&#8216;Everybody, except the person who gave it to me.&#8217;&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>The Rue Coq-H&eacute;ron is one of those whimsically named streets of Paris,
+which lend themselves to the art of the novelist.</p>
+
+<p>The origin of the name of this tiny street, which runs tangently off from
+the Rue du Louvre, is curious and na&iuml;ve. A shopkeeper of the street, who
+raised fowls, saw, one day, coming out of its shell, a <i>petit coq</i> with a
+neck and beak quite different, and much longer, than the others of the
+same brood. Everybody said it was a heron, and the neighbours crowded
+around to see the <span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span>phenomenon; and so the street came to be baptized the
+Rue Coq-H&eacute;ron.</p>
+
+<p>In the Rue Chauss&eacute;e d&#8217;Antin, at No. 7, the wily Baron Danglars had
+ensconced himself after his descent on Paris. It was here that Dant&egrave;s
+caused to be left his first &#8220;<i>carte de visite</i>&#8221; upon his subsequent
+arrival.</p>
+
+<p>Among the slighter works of Dumas, which are daily becoming more and more
+recognized&mdash;in English&mdash;as being masterpieces of their kind, is &#8220;Gabriel
+Lambert.&#8221; It deals with the life of Paris of the thirties; much the same
+period as does &#8220;Captain Pamphile,&#8221; &#8220;The Corsican Brothers,&#8221; and &#8220;Pauline,&#8221;
+and that in which Dumas himself was just entering into the literary life
+of Paris.</p>
+
+<p>Like &#8220;Pauline&#8221; and &#8220;Captain Pamphile,&#8221; too, the narrative, simple though
+it is,&mdash;at least it is not involved,&mdash;shifts its scenes the length and
+breadth of the continent of Europe, and shows a versatility in the
+construction of a latter-day romance which is quite the equal of that of
+the unapproachable medi&aelig;val romances. It further resembles &#8220;The Corsican
+Brothers,&#8221; in that it purveys a duel of the first quality&mdash;this time in
+the All&eacute;e de la Muette of the Bois de Boulogne, and that most of the
+Parisians in the story are domiciled in and about the Boulevard des
+Italiens, the Rue Taitbout, and the Rue<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> du Helder; all of them localities
+very familiar to Dumas in real life. In spite of the similarity of the
+duel of Gabriel to that of De Franchi, there is no repetition of scene or
+incident detail.</p>
+
+<p>The story deals frankly with the brutal and vulgar malefactor, in this
+case a counterfeiter of bank notes, one Gabriel, the son of a poor peasant
+of Normandy, who, it would appear, was fascinated by the ominous words of
+the inscription which French bank notes formerly bore.</p>
+
+<div class="sign"><p class="center">LA LOI PUNIT DE MORT<br />LE CONTREFACTEUR</p></div>
+
+<p>Dumas occasionally took up a theme which, unpromising in itself, was yet
+alluring through its very lack of sympathy. &#8220;Gabriel Lambert&#8221; is a story
+of vulgar rascality unredeemed by any spark of courage, wit, or humanity.
+There is much of truth in the characterization, and some sentiment, but
+little enough of romance of the gallant vagabond order.</p>
+
+<p>Dumas never attempted a more difficult feat than the composition of an
+appealing story from this material.</p>
+
+<p>Twenty years after the first appearance of &#8220;Gabriel Lambert,&#8221; in 1844, M.
+Am&eacute;d&eacute;e de Jallais<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span> brought Dumas a &#8220;scenario&#8221; taken from the romance.
+Unsuitable and unsympathetic though the principal character was, Dumas
+found the &#8220;scenario&#8221; so deftly made that he resolved to turn the book into
+a drama. This was quickly done, and the rehearsals promised a success. On
+the evening of the first performance Dumas showed himself full of
+confidence in the play&mdash;confidence which amounted almost to certainty; for
+he said to a friend with whom he promenaded the corridors of the theatre
+while awaiting the rise of the curtain: &#8220;I am sure of my piece; to-night,
+I can defy the critics.&#8221; Some of these gentlemen, unfortunately
+overhearing him, were provoked to hostility, and, finding unhappy phrases
+here and there in the piece, they laid hold of them without mercy. Only
+the comic part of the drama, a scene introduced by Dumas, in which a
+vagabond steals a clock in the presence of its owner with superb audacity,
+disarmed their opposition. But the verve of this comic part could not save
+the play, says Gabriel Ferry, in narrating this anecdote. The antipathy
+aroused by the principal character doomed it, and the career of the piece
+was short.</p>
+
+<p>It remains, however,&mdash;in the book, at any rate,&mdash;a wonderful
+characterization, with its pictures of the blue Mediterranean at Toulon,
+the gay life<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> of the Parisian boulevards, its miniature portrait of the
+great Vidocq, and the sinister account of the prison of Bic&ecirc;tre, which,
+since the abandonment of the Place de la Gr&egrave;ve, had become the last resort
+of those condemned to death.</p>
+
+<p>The tale is a short one, but it vibrates between the <i>rues</i> and the
+boulevards, from the H&ocirc;tel de Venise in the Rue des Vieux-Augustins (now
+the Rue Herold), where Gabriel, upon coming to Paris, first had his
+lodgings, to the purlieus of the fashionable world,&mdash;the old Italian Opera
+in the Rue Pelletier,&mdash;and No. 11 Rue Taitbout, where afterward Gabriel
+had ensconced himself in a luxurious apartment.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+
+<div class="bbox" style="width: 289px; height: 500px;"><img src="images/fp_234.jpg" alt="" /></div>
+<p class="center">N&Ocirc;TRE DAME DE PARIS</p>
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span></p>
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.</h2>
+<h3>LA CIT&Eacute;</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">It</span> is difficult to write of La Cit&eacute;; it is indeed, impossible to write of
+it with fulness, unless one were to devote a large volume&mdash;or many large
+volumes&mdash;to it alone.</p>
+
+<p>To the tourists it is mostly recalled as being the <i>berceau</i> of N&ocirc;tre Dame
+or the morgue. The latter, fortunately, is an entirely modern institution,
+and, though it existed in Dumas&#8217; own time, did not when the scenes of the
+D&#8217;Artagnan or Valois romances were laid.</p>
+
+<p>Looking toward N&ocirc;tre Dame from the Pont du Carrousel, one feels a
+veritable thrill of emotion as one regards this city of kings and
+revolutions.</p>
+
+<p>The very buildings on the Ile de la Cit&eacute; mingle in a symphony of ashen
+memories. The statue of the great Henri IV., bowered in trees; the two old
+houses at the apex of the Place Dauphine, in one of which Madame Roland
+was born; the <span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span>massive Palais de Justice; the soaring Sainte Chapelle,
+which St. Louis built for the Crown of Thorns, and &#8220;to the glory of God
+and France,&#8221; and the towers of the Conciergerie, whose floor is for ever
+stained with the tears of Marie Antoinette.</p>
+
+<p>Romance and history have both set their seal upon the locality, and no one
+better than Dumas has told its story in romance.</p>
+
+<hr style="width: 25%;" />
+
+<p>Henri of Navarre being Protestant, the Church would not open its doors to
+him, and thus his marriage to the talented but wicked Margot, sister of
+Charles IX., took place on a platform erected before its doors.</p>
+
+<p>In the opening chapter of &#8220;Marguerite de Valois,&#8221; Dumas refers to it thus:</p>
+
+<p>&#8220;The court was celebrating the marriage of Madame Marguerite de Valois,
+daughter of Henri II. and sister of King Charles IX., with Henri de
+Bourbon, King of Navarre; and that same morning the Cardinal de Bourbon
+had united the young couple with the usual ceremonial observed at the
+marriages of the royal daughters of France, on a stage erected at the
+entrance to N&ocirc;tre Dame. This marriage had astonished everybody, and
+occasioned much surmise to certain persons who saw clearer than others.
+They could not <span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span>comprehend the union of two parties who hated each other
+so thoroughly as did, at this moment, the Protestant party and the
+Catholic party; and they wondered how the young Prince de Cond&eacute; could
+forgive the Duke d&#8217;Anjou, the king&#8217;s father, for the death of his father,
+assassinated by Montesquieu at Jarnac. They asked how the young Duke de
+Guise could pardon Admiral de Coligny for the death of his father,
+assassinated at Orleans by Poltrot de M&egrave;re.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_236_tmb.jpg" alt="" /><br />
+<a href="images/fp_236.jpg"><small>Larger Image</small></a></div>
+<p class="center"><i>La Cit&eacute;</i></p>
+<p>&nbsp;</p>
+
+<hr style="width: 25%;" />
+
+<p>The Tour de Nesle is one of those bygones of the history of Paris, which
+as a name is familiar to many, but which, after all, is a very vague
+memory.</p>
+
+<p>It perpetuates an event of bloodshed which is familiar enough, but there
+are no tangible remains to mark the former site of the tower, and only the
+name remains&mdash;now given to a short and unimportant <i>rue</i>.</p>
+
+<p>The use of the title &#8220;La Tour de Nesle,&#8221; by Dumas, for a sort of
+second-hand article,&mdash;as he himself has said,&mdash;added little to his
+reputation as an author, or, rather, as a dramatist.</p>
+
+<p>In reality, he did no more than rebuild a romantic drama, such as he alone
+knows how to build, out<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> of the framework which had been unsuccessfully
+put together by another&mdash;Gaillardet. However, it gives one other
+historical title to add to the already long list of his productions.</p>
+
+<hr style="width: 25%;" />
+
+<p>The history of the Conciergerie is most lurid, and, withal, most emphatic,
+with regard to the political history of France. For the most part, it is
+more associated with political prisoners than with mere sordid crime, as,
+indeed, to a great extent were many of the prisons of France.</p>
+
+<p>The summer tourist connects it with Marie Antoinette; visits the &#8220;Cachot
+de Marie Antoinette;&#8221; the great hall where the Girondists awaited their
+fate; and passes on to the Palais des Beaux Arts, with never a thought as
+to the great political part that the old prison played in the monarchial
+history of France.</p>
+
+<p>To know it more fully, one should read Nogaret&#8217;s &#8220;Histoire des Prisons de
+Paris.&#8221; There will be found anecdotes and memoirs, &#8220;<i>rares et precieux</i>&#8221;
+and above all truthful.</p>
+
+<p>It has been eulogized, or, rather, anathematized in verse by Voltaire,&mdash;</p>
+
+<p class="poem">&#8220;Exterminez, grandes Dieux, de la terre ou nous sommes<br />
+Quiconque avec plaisir repand le sang des hommes,&#8221;&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span>and historians and romancists have made profuse use of the recollections
+which hang about its grim walls.</p>
+
+<p>To-day it stands for much that it formerly represented, but without the
+terrible inquisitorial methods. In fact, in the Palais de Justice, which
+now entirely surrounds all but the turreted fa&ccedil;ade of tourelles, which
+fronts the Quai de l&#8217;Horloge, has so tempered its mercies that within the
+past year it has taken down that wonderful crucifix and triptych, so that
+those who may finally call upon the court of last appeal may not be unduly
+or superstitiously affected.</p>
+
+<p>The Place de la Gr&egrave;ve opposite was famous for something more than its
+commercial reputation, as readers of the Valois romances of Dumas, and of
+Hugo&#8217;s &#8220;Dernier Jour d&#8217;un Condamn&eacute;&#8221; will recall. It was a veritable
+Gehenna, a sort of Tower Hill, where a series of events as dark and bloody
+as those of any spot in Europe held forth, from 1310, when a poor
+unfortunate, Marguerite Porette, was burned as a heretic, until
+1830,&mdash;well within the scope of this book,&mdash;when the headsmen, stakesmen,
+and hangmen, who had plied their trade here for five centuries, were
+abolished in favour of a less public <i>barri&egrave;re</i> on the outskirts, or else
+the platform of the prison near the Cimeti&egrave;re du P&egrave;re la Chaise.</p>
+
+<p><span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span>It was in 1830 that a low thief and murderer, Lacenaire, who was brought
+to the scaffold for his crimes, published in one of the Parisian papers
+some verses which were intended to extract sympathy for him as <i>un homme
+de lettres</i>. In reality they were the work of a barrister, Lemarquier by
+name, and failed utterly of their purpose, though their graphic lines
+might well have evoked sympathy, had the hoax carried:</p>
+
+<p class="poem">&#8220;Slow wanes the long night, when the criminal wakes;<br />
+And he curses the morn that his slumber breaks;<br />
+<span style="margin-left: 3em;">For he dream&#8217;d of other days.</span><br />
+<br />
+&#8220;His eyes he may close,&mdash;but the cold icy touch<br />
+Of a frozen hand, and a corpse on his couch,<br />
+<span style="margin-left: 3em;">Still comes to wither his soul.</span><br />
+<br />
+&#8220;And the headsman&#8217;s voice, and hammer&#8217;d blows<br />
+Of nails that the jointed gibbet close,<br />
+<span style="margin-left: 3em;">And the solemn chant of the dead!&#8221;</span></p>
+
+<p>La Conciergerie was perhaps one of the greatest show-places of the city
+for the morbidly inclined, and permission <i>&agrave; visiter</i> was at that time
+granted <i>avec toutes facilit&eacute;s</i>, being something more than is allowed
+to-day.</p>
+
+<p>The associations connected with this doleful building are great indeed, as
+all histories of France and the guide-books tell. It was in the chapel of
+this<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> edifice that the victims of the Terror foregathered, to hear the
+names read out for execution, till all should have been made away.</p>
+
+<p>M&uuml;ller&#8217;s painting in the Louvre depicts, with singular graphicness, this
+dreadful place of detention, where princes and princesses, counts,
+marquises, bishops, and all ranks were herded amid an excruciating agony.</p>
+
+<p>In &#8220;The Queen&#8217;s Necklace&#8221; we read of the Conciergerie&mdash;as we do of the
+Bastille. When that gang of conspirators, headed by Madame de la
+Motte,&mdash;Jeanne de St. Remy de Valois,&mdash;appeared for trial, they were
+brought from the Bastille to the Conciergerie.</p>
+
+<p>After the trial all the prisoners were locked for the night in the
+Conciergerie, sentence not being pronounced till the following day.</p>
+
+<p>The public whipping and branding of Madame de la Motte in the Cour du
+Justice,&mdash;still the <i>cour</i> where throngs pass and repass to the various
+court-rooms of the Palais de Justice,&mdash;as given by Dumas, is most
+realistically told, if briefly. It runs thus:</p>
+
+<p>&#8220;&#8216;Who is this man?&#8217; cried Jeanne, in a fright.</p>
+
+<p>&#8220;&#8216;The executioner, M. de Paris,&#8217; replied the registrar.</p>
+
+<p>&#8220;The two men then took hold of her to lead <span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span>her out. They took her thus
+into the court called Cour de Justice, where was a scaffold, and which was
+crowded with spectators. On a platform, raised about eight feet, was a
+post garnished with iron rings, and with a ladder to mount to it. This
+place was surrounded with soldiers....</p>
+
+<p>&#8220;Numbers of the partisans of M. de Rohan had assembled to hoot her, and
+cries of &#8216;<i>A bas la Motte</i>, the forger!&#8217; were heard on every side, and
+those who tried to express pity for her were soon silenced. Then she cried
+in a loud voice, &#8216;Do you know who I am? I am the blood of your kings. They
+strike in me, not a criminal, but a rival; not only a rival, but an
+accomplice. Yes,&#8217; repeated she, as the people kept silence to listen, &#8216;an
+accomplice. They punish one who knows the secrets of&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Take care,&#8217; interrupted the executioner.</p>
+
+<p>&#8220;She turned and saw the executioner with the whip in his hand. At this
+sight she forgot her desire to captivate the multitude, and even her
+hatred, and, sinking on her knees, she said, &#8216;Have pity!&#8217; and seized his
+hand; but he raised the other, and let the whip fall lightly on her
+shoulders. She jumped up, and was about to try and throw herself off the
+scaffold, when she saw the other man, who was drawing from a fire a hot
+iron. At this sight<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span> she uttered a perfect howl, which was echoed by the
+people.</p>
+
+<p>&#8220;&#8216;Help! help!&#8217; she cried, trying to shake off the cord with which they
+were tying her hands. The executioner at last forced her on her knees, and
+tore open her dress; but she cried, with a voice which was heard through
+all the tumult, &#8216;Cowardly Frenchmen! you do not defend me, but let me be
+tortured; oh! it is my own fault. If I had said all I knew of the queen I
+should have been&mdash;&#8217;</p>
+
+<p>&#8220;She could say no more, for she was gagged by the attendants: then two men
+held her, while the executioner performed his office. At the touch of the
+iron she fainted, and was carried back insensible to the Conciergerie.&#8221;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span></p>
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.</h2>
+<h3>L&#8217;UNIVERSIT&Eacute; QUARTIER</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">L&#8217;Universit&eacute;</span> is the <i>quartier</i> which foregathered its components, more or
+less unconsciously, around the Sorbonne.</p>
+
+<p>To-day the name still means what it always did; the Ecole de M&eacute;dicine, the
+Ecole de Droit, the Beaux Arts, the Observatoire, and the student ateliers
+of the Latin Quarter, all go to make it something quite foreign to any
+other section of Paris.</p>
+
+<p>The present structure known as &#8220;The Sorbonne&#8221; was built by Richelieu in
+1629, as a sort of glorified successor to the ancient foundation of Robert
+de Sorbonne, confessor to St. Louis in 1253. The present Universit&eacute;, as an
+institution, was founded, among many other good and valuable things, which
+he has not always been given credit for, by the astute Napoleon I.</p>
+
+<hr style="width: 25%;" />
+
+<p>With the work of the romancer, it is the unexpected that always happens.
+But this very unexpectedness<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span> is only another expression of naturalness;
+which raises the question: Is not the romancist more of a realist than is
+commonly supposed?</p>
+
+<p>Dumas often accomplished the unconventional, and often the miraculous, but
+the gallant attack of D&#8217;Artagnan and his three whilom adversaries against
+the Cardinal&#8217;s Guard is by no means an impossible or unreasonable
+incident. Considering Dumas&#8217; ingenuity and freedom, it would be
+unreasonable to expect that things might not take the turn that they did.</p>
+
+<p>Of &#8220;Les Trois Mousquetaires&#8221; alone, the scheme of adventure and incident
+is as orderly and sagacious as though it had been laid down by the wily
+cardinal himself; and therein is Dumas&#8217; success as the romancist <i>par
+excellence</i> of his time. A romancist who was at least enough of a realist
+to be natural, if unconventional.</p>
+
+<p>Dumas is supposed to have fallen from the heights scaled by means of &#8220;Les
+Trois Mousquetaires,&#8221; when he wrote &#8220;Vingt Ans Apr&egrave;s.&#8221; As a piece of
+literary workmanship, this perhaps is so; as a chronicle of great interest
+to the reader, who would trace the movement of its plot by existing stones
+and shrines, it is hardly the case.</p>
+
+<p>One can get up a wonderful enthusiasm for the old Luxembourg quarter,
+which the Gascon Don<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span> Quixote entered by one of the southern gates,
+astride his Rosinante. The whole neighbourhood abounds with reminiscences
+of the characters of the tale: D&#8217;Artagnan, with the Rue des Fossoyeurs,
+now the Rue Servandoni; Athos with the Rue Ferou; Aramis, with the Rue de
+la Harpe, and so on.</p>
+
+<p>There is, however, a certain tangible sentimentality connected with the
+adventures of Athos, Aramis, D&#8217;Artagnan, and Porthos in &#8220;Twenty Years
+After,&#8221; that is not equalled by the earlier book, the reputed scenes of
+which have, to some extent, to be taken on faith.</p>
+
+<p>In &#8220;Vingt Ans Apr&egrave;s,&#8221; the scene shifts rapidly and constantly: from the
+Rue Tiquetonne, in Paris, to the more luxurious precincts of the Palais
+Royal; countrywards to Compi&egrave;gne, to Pierrefonds&mdash;which ultimately came
+into the possession of Porthos; to England, even; and southward as far as
+Blois in Touraine, near to which was the country estate of Athos.</p>
+
+<p>At the corner of the Rue Vaugirard, which passes the front of the
+Luxembourg Palace, and the Rue Cassette, is the wall of the Carmelite
+Friary, where D&#8217;Artagnan repaired to fulfil his duelling engagements with
+the three musketeers of the company of De Treville, after the incidents of
+the shoulder <span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span>of Athos, the baldric of Porthos, and the handkerchief of
+Aramis.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 369px; height: 500px;"><img src="images/fp_246.jpg" alt="" /></div>
+<p class="center">CARMELITE FRIARY, RUE VAUGIRARD</p>
+<p>&nbsp;</p>
+
+<p>Both sides of the river, and, indeed, the Cit&eacute; itself, are alive with the
+association of the King&#8217;s Musketeers and the Cardinal&#8217;s Guards; so much so
+that one, with even a most superficial knowledge of Paris and the
+D&#8217;Artagnan romances, cannot fail to follow the shifting of the scenes from
+the neighbourhood of the Palais du Luxembourg, in &#8220;Les Trois
+Mousquetaires,&#8221; to the neighbourhood of the Palais Royal, in &#8220;Vingt Ans
+Apr&egrave;s&#8221; and the &#8220;Vicomte de Bragelonne.&#8221;</p>
+
+<p>In &#8220;Le Vicomte de Bragelonne,&#8221; the fraternal <i>mousquetaires</i> take somewhat
+varying paths from those which they pursued in the first two volumes of
+the series. Porthos and Athos had arrived at distinction and wealth, and
+surrounded themselves accordingly; though, when they came to Paris, they
+were doubtless frequenters&mdash;at times&mdash;of their old haunts, but they had
+perforce to live up to their exalted stations.</p>
+
+<p>With D&#8217;Artagnan and Aramis this was not so true. D&#8217;Artagnan, it would
+seem, could not leave his beloved Palais Royal quarter, though his
+lodgings in the h&ocirc;tel in the Rue Tiquetonne could have been in no way
+luxurious, judging from present-day appearances.</p>
+
+<p><span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span>In the Universit&eacute; quarter, running squarely up from the Seine is a short,
+unpretentious, though not unlovely, street&mdash;the Rue Guenegard.</p>
+
+<p>It runs by the H&ocirc;tel de la Monnaie, and embouches on the Quai Conti, but
+if you ask for it from the average stroller on the quais, he will reply
+that he never heard of it.</p>
+
+<p>It was here, however, at &#8220;Au Grand Roi Charlemagne,&#8221; &#8220;a respectable inn,&#8221;
+that Athos lived during his later years.</p>
+
+<p>In the course of three hundred years this inn has disappeared,&mdash;if it ever
+existed,&mdash;though there are two h&ocirc;tels, now somewhat decrepit, on the short
+length of the street.</p>
+
+<p>Perhaps it was one of these,&mdash;the present H&ocirc;tel de France, for
+instance,&mdash;but there are no existing records to tell us beyond doubt that
+this is so.</p>
+
+<p>There is another inn which Dumas mentions in &#8220;The Forty-Five Guardsmen,&#8221;
+not so famous, and not traceable to-day, but his description of it is
+highly interesting and amusing.</p>
+
+<p>&#8220;Near the Porte Buci,&#8221; says Chapter VII. of the book before mentioned,
+&#8220;where we must now transport our readers, to follow some of their
+acquaintances, and to make new ones, a hum, like that in a beehive at
+sunset, was heard proceeding from a house tinted rose colour, and
+ornamented with blue <span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span>and white pointings, which was known by the sign of
+&#8216;The Sword of the Brave Chevalier,&#8217; and which was an immense inn, recently
+built in this new quarter. This house was decorated to suit all tastes. On
+the entablature was painted a representation of a combat between an
+archangel and a dragon breathing flame and smoke, and in which the artist,
+animated by sentiments at once heroic and pious, had depicted in the hands
+of &#8216;the brave chevalier,&#8217; not a sword, but an immense cross, with which he
+hacked in pieces the unlucky dragon, of which the bleeding pieces were
+seen lying on the ground. At the bottom of the picture crowds of
+spectators were represented raising their arms to heaven, while from above
+angels were extending over the chevalier laurels and palms. Then, as if to
+prove that he could paint in every style, the artist had grouped around
+gourds, grapes, a snail on a rose, and two rabbits, one white and the
+other gray.</p>
+
+<p>&#8220;Assuredly the proprietor must have been difficult to please, if he were
+not satisfied, for the artist had filled every inch of space&mdash;there was
+scarcely room to have added a caterpillar. In spite, however, of this
+attractive exterior, the h&ocirc;tel did not prosper&mdash;it was never more than
+half full, though it was large and comfortable. Unfortunately, from its
+proximity to the Pr&eacute;-aux-Clercs, it was <span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span>frequented by so many persons
+either going or ready to fight, that those more peaceably disposed avoided
+it. Indeed, the cupids with which the interior was decorated had been
+ornamented with moustaches in charcoal by the <i>habitu&eacute;s</i>; and Dame
+Fournichon, the landlady, always affirmed that the sign had brought them
+ill-luck, and that, had her wishes been attended to, and the painting
+represented more pleasing things, such as the rose-tree of love surrounded
+by flaming hearts, all tender couples would have flocked to them.</p>
+
+<p>&#8220;M. Fournichon, however, stuck to his sign, and replied that he preferred
+fighting men, and that one of them drank as much as six lovers.&#8221;</p>
+
+<p>Dumas&#8217; reference to this curiously disposed &#8220;happy family&#8221; calls to mind
+the anecdote which he recounts in &#8220;The Taking of the Bastille,&#8221; concerning
+salamanders:</p>
+
+<p>&#8220;The famous trunk, which had now been dignified with the name of desk, had
+become, thanks to its vastness, and the numerous compartments with which
+Pitou had decorated its interior, a sort of Noah&#8217;s ark, containing a
+couple of every species of climbing, crawling, or flying reptiles. There
+were lizards, adders, ant-eaters, beetles, and frogs, which reptiles
+became so much dearer to Pitou from <span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span>their being the cause of his being
+subjected to punishment more or less severe.</p>
+
+<p>&#8220;It was in his walks during the week that Pitou made collections for his
+menagerie. He had wished for salamanders, which were very popular at
+Villers-Cotter&ecirc;ts, being the crest of Fran&ccedil;ois I., and who had them
+sculptured on every chimneypiece in the ch&acirc;teau. He had succeeded in
+obtaining them; only one thing had strongly preoccupied his mind, and he
+ended by placing this thing among the number of those which were beyond
+his intelligence; it was, that he had constantly found in the water these
+reptiles which poets have pretended exist only in fire. This circumstance
+had given to Pitou, who was a lad of precise mind, a profound contempt for
+poets.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Here, at &#8220;The Sword of the Brave Chevalier,&#8221; first met the &#8220;Forty-Five
+Guardsmen.&#8221; In the same street is, or was until recently, a modernized and
+vulgarized inn of similar name, which was more likely to have been an
+adaption from the pages of Dumas than a direct descendant of the original,
+if it ever existed. It is the H&ocirc;tel la Tr&eacute;mouille, near the Luxembourg,
+that figures in the pages of &#8220;Les Trois Mousquetaires,&#8221; but the h&ocirc;tel of
+the Duc de Treville, in the Rue du Vieux-Colombier,<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span> has disappeared in a
+rebuilding or widening of this street, which runs from the Place de St.
+Sulpice to the Place de la Croix-Rouge.</p>
+
+<p>All these places centre around that famous <i>affaire</i> which took place
+before the Carmelite establishment on the Rue Vaugirard: that gallant
+sword-play of Athos, Porthos, and Aramis,&mdash;helped by the not unwilling
+D&#8217;Artagnan,&mdash;against Richelieu&#8217;s minions, headed by Jussac.</p>
+
+<p>Within the immediate neighbourhood, too, is much of the <i>locale</i> of &#8220;Les
+Trois Mousquetaires.&#8221; Here the four friends themselves lodged, &#8220;just
+around the corner, within two steps of the Luxembourg,&#8221; though Porthos
+more specifically claimed his residence as in the Rue de Vieux-Colombier.
+&#8220;That is my abode,&#8221; said he, as he proudly pointed to its gorgeous
+doorway.</p>
+
+<p>The H&ocirc;tel de Chevreuse of &#8220;<i>la Frondeuse duchesse</i>,&#8221; famed alike in
+history and the pages of Dumas, is yet to be seen in somewhat changed form
+at No. 201 Boulevard St. Germain; its garden cut away by the Boulevard
+Raspail.</p>
+
+<p>At No. 12 or 14 Rue des Fossoyeurs, beside the Panth&eacute;on,&mdash;still much as it
+was of yore,&mdash;was D&#8217;Artagnan&#8217;s own &#8220;sort of a garret.&#8221; One may not be able
+to exactly place it, but any of the <span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span>decrepitly picturesque houses will
+answer the description.</p>
+
+<hr style="width: 25%;" />
+
+<p>It is a wonderfully varied and interesting collection of buildings which
+is found on the height of Ste. Genevi&egrave;ve, overlooking the Jardin and
+Palais du Luxembourg: the hybrid St. Etienne du Mont, the pagan Panth&eacute;on,
+the tower of the ancient Abbaye de Ste. Genevi&egrave;ve, and the Biblioth&egrave;que,
+which also bears the name of Paris&#8217;s patron saint.</p>
+
+<p>The old abbey must have had many and varied functions, if history and
+romance are to be believed, and to-day its tower and a few short lengths
+of wall, built into the Lyc&eacute;e Henri Quatre, are all that remain, unless it
+be that the crypt and dungeons, of which one reads in &#8220;Chicot the Jester,&#8221;
+are still existent. Probably they are, but, if so, they have most likely
+degenerated into mere lumber-rooms.</p>
+
+<p>The incident as given by Dumas relates briefly to the plot of the Guises
+to induce Charles IX., on the plea of some religious ceremony, to enter
+one of the monkish <i>caches</i>, and there compel him to sign his abdication.
+The plot, according to the novelist, was frustrated by the ingenious
+Chicot.</p>
+
+<p>At all events, the ensemble to-day is one most<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span> unusual, and the whole
+locality literally reeks with the associations of tradition.</p>
+
+<p>Architecturally it is a jumble, good in parts, but again shocking in other
+parts.</p>
+
+<p>The &Eacute;glise St. Etienne du Mont is a weird contrast of architectural style,
+but its interior is truly beautiful, and on the wall near the south
+transept are two tablets, on which one may read the facts concerning Ste.
+Genevi&egrave;ve, which likely enough have for the moment been forgotten by most
+of us.</p>
+
+<p>The old abbey must have been a delightful place, in spite of the lurid
+picture which Dumas draws of it.</p>
+
+<hr style="width: 25%;" />
+
+<p>Probably in none of Dumas&#8217; romances is there more lively action than in
+&#8220;The Queen&#8217;s Necklace.&#8221; The characters are in a continual migration
+between one and another of the faubourgs. Here, again, Dumas does not
+forget or ignore the Luxembourg and its environment. He seems, indeed, to
+have a special fondness for its neighbourhood. It was useful to him in
+most of the Valois series, and doubly so in the D&#8217;Artagnan romances.</p>
+
+<p>Beausire, one of the thieves who sought to steal the famous necklace,
+&#8220;took refuge in a small <i>cabaret</i> in the Luxembourg quarter.&#8221; The
+particular<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span> <i>cabaret</i> is likely enough in existence to-day, as the event
+took place but a hundred years ago, and Dumas is known to have &#8220;drawn from
+life&#8221; even his pen-portraits of the <i>locale</i> of his stories. At any rate,
+there is many a <i>cabaret</i> near the Luxembourg which might fill the bill.</p>
+
+<p>The gardens of the Luxembourg were another favourite haunt of the
+characters of Dumas&#8217; romances, and in &#8220;The Queen&#8217;s Necklace&#8221; they are made
+use of again, this time, as usual, as a suitable place for a promenade or
+a rendezvous of the fair Oliva, who so much resembled Marie Antoinette.</p>
+
+<hr style="width: 25%;" />
+
+<p>Like the Rue du Helder, celebrated in &#8220;The Corsican Brothers,&#8221; the Rue de
+Lille, where lived, at No. 29, De Franchi&#8217;s friend, Adrien de Boissy, is
+possessed of an air of semi-luxuriousness, or, at any rate, of a certain
+middle-class comfort.</p>
+
+<p>It lies on the opposite side of the Seine from the river side of the
+Louvre, and runs just back of the site formerly occupied by the Duc de
+Montmorenci, where was held the gorgeous ceremony of the marriage of the
+Marquis St. Luc, of which one reads in &#8220;Chicot the Jester.&#8221;</p>
+
+<p>There is not much of splendour or romance about the present-day Rue de
+Lille; indeed, it is rather commonplace, but as Dumas places the
+particular<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span> house in which De Boissy lived with definiteness, and,
+moreover, in that it exists to-day practically unaltered, there seems
+every good reason why it should be catalogued here.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_256_tmb.jpg" alt="" /><br />
+<a href="images/fp_256.jpg"><small>Larger Image</small></a></div>
+<p class="center">THE BUILDERS OF THE LOUVRE</p>
+
+<p class="note">(1) Fran&ccedil;ois I., <i>1546</i>; (2) Catherine de Medici, <i>1566-1578</i>; (3)
+Catherine de Medici, <i>1564</i> (destroyed at the Commune); (4) Louis XIII.,
+<i>1524</i>; (5) Louis XIV., <i>1660-1670</i>; (6) Napoleon I., <i>1806</i>; (7) Louis
+XVIII., <i>1816</i>; (8) Napoleon III., <i>1852-1857</i>; (9) Napoleon III.,
+<i>1863-1868</i>.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a></p>
+<p><span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p>
+<h2>CHAPTER XIII.</h2>
+<h3>THE LOUVRE</h3>
+
+<p class="blockquot">&#8220;<i>Paris renferme beaucoup de palais; mais le vrai palais de Paris, le vrai
+palais de la France, tout le monde l&#8217;a nomm&eacute;,&mdash;c&#8217;est le Louvre.</i>&#8221;</p>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Upon</span> the first appearance of &#8220;Marguerite de Valois,&#8221; a critic writing in
+<i>Blackwood&#8217;s Magazine</i>, has chosen to commend Dumas&#8217; directness of plot
+and purpose in a manner which every lover of Dumas and student of history
+will not fail to appreciate. He says: &#8220;Dumas, according to his custom,
+introduces a vast array of characters, for the most part historical, all
+spiritedly drawn and well sustained. In various respects the author may be
+held up as an example to our own history-spoilers, and self-styled writers
+of historical romance. One does not find him profaning public edifices by
+causing all sorts of absurdities to pass, and of twaddle to be spoken,
+within their precincts; neither does he make his king and beggar,
+high-born dame and private soldier use<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span> the very same language, all
+equally tame, colourless, and devoid of character. The spirited and varied
+dialogue, in which his romances abound, illustrates and brings out the
+qualities and characteristics of his actors, and is not used for the sole
+purpose of making a chapter out of what would be better told in a page. In
+many instances, indeed, it would be difficult for him to tell his story,
+by the barest narrative, in fewer words than he does by pithy and pointed
+dialogue.&#8221;</p>
+
+<p>No edifice in Paris itself, nor, indeed, in all France, is more closely
+identified with the characters and plots of Dumas&#8217; romances than the
+Louvre. In the Valois cycle alone, the personages are continually flocking
+and stalking thither; some mere puppets,&mdash;walking gentlemen and
+ladies,&mdash;but many more, even, who are personages so very real that even in
+the pages of Dumas one forgets that it is romance pure and simple, and is
+almost ready to accept his word as history. This it is not, as is well
+recognized, but still it is a pleasant manner of bringing before the
+omnivorous reader many facts which otherwise he might ignore or perhaps
+overlook.</p>
+
+<p>It really is not possible to particularize all the action of Dumas&#8217;
+romances which centred around the Louvre. To do so would be to write the<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span>
+medi&aelig;val history of the famous building, or to produce an analytical index
+to the works of Dumas which would somewhat approach in bulk the celebrated
+Chinese encyclop&aelig;dia.</p>
+
+<p>We learn from &#8220;Le Vicomte de Bragelonne&#8221; of D&#8217;Artagnan&#8217;s great familiarity
+with the life which went on in the old ch&acirc;teau of the Louvre. &#8220;I will tell
+you where M. d&#8217;Artagnan is,&#8221; said Raoul; &#8220;he is now in Paris; when on
+duty, he is to be met at the Louvre; when not so, in the Rue des
+Lombards.&#8221;</p>
+
+<p>This describes the situation exactly: when the characters of the
+D&#8217;Artagnan and the Valois romances are not actually within the precincts
+of the Louvre, they have either just left it or are about to return
+thither, or some momentous event is being enacted there which bears upon
+the plot.</p>
+
+<p>Perhaps the most dramatic incident in connection with the Louvre mentioned
+by Dumas, was that of the massacre of St. Bartholomew&#8217;s night, &#8220;that
+bloody deed which culminated from the great struggle which devastated
+France in the latter part of the sixteenth century.&#8221;</p>
+
+<p>Dumas throws in his lot with such historians as Ranke and Soldain, who
+prefer to think that the massacre which took place on the f&ecirc;te-day of St.
+Bartholomew was not the result of a long <span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span>premeditated plot, but was
+rather the fruit of a momentary fanatical terror aroused by the
+unsuccessful attempt on the life of Coligny.</p>
+
+<p>This aspect is apart from the question. The principal fact with which the
+novelist and ourselves are concerned is that the event took place much as
+stated: that it was from the Louvre that the plot&mdash;if plot it
+were&mdash;emanated, and that the sounding bell of St. Germain l&#8217;Auxerrois did,
+on that fateful night, indicate to those present in the Louvre the fact
+that the bloody massacre had begun.</p>
+
+<p>The fabric itself&mdash;the work of many hands, at the instigation of so many
+minds&mdash;is an enduring monument to the fame of those who projected it, or
+who were memorialized thereby: Philippe-Auguste, Marie de Medici, Fran&ccedil;ois
+I., Charles IX., Henri IV., Louis XIV., Napoleon I.,&mdash;who did but little,
+it is true,&mdash;and Napoleon III.&mdash;who did much, and did it badly.</p>
+
+<p>Besides history, bloody deeds, and intrigue, there is also much of
+sentiment to be gathered from an observation of its walls; as witness the
+sculptures and decorations of Goujon and Lescot, the interlaced monogram
+G. H., of Henri and Gabrielle d&#8217;Estr&eacute;es, and the superimposed crescents of
+the fair Diane de Poitiers. But such romances as these are best read in
+the pages of Dumas.</p>
+
+<p><span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span>&#8220;To the French the Louvre is more than a palace; it is a sanctuary,&#8221; said
+an enthusiastic Frenchman. As such it is a shrine to be worshipped by
+itself, though it is pardonable to wish to know to-day just where and when
+the historic events of its career took place.</p>
+
+<p>One can trace the outline, in white marble, of the ancient Ch&acirc;teau du
+Louvre, in the easterly courtyard of the present establishment; can admire
+the justly celebrated eastern colonnade, though so defective was the
+architect in his original plans that it overlaps the side walls of the
+connecting buildings some dozen or more feet; can follow clearly all the
+various erections of monarchs and eras, and finally contemplate the tiny
+columns set about in the garden of the Tuileries, which mark all that is
+left of that ambitious edifice.</p>
+
+<p>The best description of the Tuileries by Dumas comes into the scene in
+&#8220;The Count of Monte Cristo,&#8221; when Villefort,&mdash;who shares with Danglars and
+Fernand the distinction of being the villain of the piece,&mdash;after
+travelling with all speed from Marseilles to Paris, &#8220;penetrates the two or
+three apartments which precede it, and enters the small cabinet of the
+Tuileries with the arched window, so well known as having been the
+favourite<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span> cabinet of Napoleon and Louis XVIII., as also that of
+Louis-Philippe.</p>
+
+<p>&#8220;There, in this closet, seated before a walnut-tree table he had brought
+with him from Hartwell, and to which, from one of those fancies not
+uncommon to great people, he was particularly attached, the king, Louis
+XVIII., was carelessly listening to a man of fifty or fifty-two years of
+age, with gray hair, aristocratic bearing, and exceedingly gentlemanly
+attire, whilst he was making a note in a volume of Horace, Gryphius&#8217;s
+edition, which was much indebted to the sagacious observations of the
+philosophical monarch.&#8221;</p>
+
+<p>Of course, an author of to-day would have expressed it somewhat
+differently, but at the time in which Dumas wrote, the little cabinet did
+exist, and up to the time of the destruction of the palace, at the
+Commune, was doubtless as much of a showplace in its way as is the window
+of the Louvre from which Charles IX. was supposed to have fired upon the
+fleeing Huguenots&mdash;with this difference: that the cabinet had a real
+identity, while the window in question has been more recently ascertained
+as not having been built at the time of the event.</p>
+
+<hr style="width: 25%;" />
+
+<p>Some one has mentioned Paris, the forgetter, as if modern Paris and its
+gay life&mdash;for assuredly it<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span> is gay, regardless of what the <i>blas&eacute;</i> folk
+may say or think&mdash;had entirely blotted out from its memory the horrors of
+St. Bartholomew&#8217;s night, the tragedies of La Roquette, the Conciergerie,
+or the Bastille.</p>
+
+<p>This is so in a measure, however, though one has only to cross the square
+which lies before Les Halles, La Tour St. Jacques, or Notre Dame, to
+recall most vividly the tragedies which have before been enacted there.</p>
+
+<p>The Louvre literally reeks with the intrigue and bloodshed of political
+and religious warfare; and Dumas&#8217; picture of the murder of the admiral,
+and his version of the somewhat apocryphal incident of Charles IX. potting
+at the Protestant victims, with a specially made and garnished firearm, is
+sufficiently convincing, when once read, to suggest the recollections, at
+least, of the heartless act. From the Louvre it is but a step&mdash;since the
+Tuileries has been destroyed&mdash;to the Place de la Concorde.</p>
+
+<p>When this great square, now given over to bird-fanciers, automobilists,
+and photograph-sellers, was first cleared, it was known as the Place de la
+R&eacute;volution. In the later volumes of the Valois romances one reads of a
+great calendar of scenes and incidents which were consummated here. It is
+too large a list to even catalogue, but one will recollect that<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span> here, in
+this statue surrounded place, with playing fountains glittering in the
+sunlight, is buried under a brilliance&mdash;very foreign to its former
+aspect&mdash;many a grim tragedy of profound political purport.</p>
+
+<p>It was here that Louis XVI. said, &#8220;I die innocent; I forgive my enemies,
+and pray God to avert his vengeance for my blood, and to bless my people.&#8221;
+To-day one sees only the ornate space, the <i>voitures</i> and automobiles, the
+tricolour floating high on the Louvre, and this forgetful Paris, brilliant
+with sunlight, green with trees, beautified by good government, which
+offers in its <i>kiosks</i>, caf&eacute;s, and theatres the fulness of the moment at
+every turn. Paris itself truly forgets, if one does not.</p>
+
+<hr style="width: 25%;" />
+
+<p>The Louvre as it is known to-day is a highly intricate composition. Its
+various parts have grown, not under one hand, but from a common root,
+until it blossomed forth in its full glory when the western front of
+Catherine de Medici took form. Unfortunately, with its disappearance at
+the Commune the completeness of this elaborate edifice went for ever.</p>
+
+<p>One is apt to overlook the fact that the old Louvre, the <i>ancienne Palais
+du Louvre</i>, was a medi&aelig;val battlemented and turreted structure, which bore
+little resemblance to the Louvre of to-day, or <span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span>even that of Charles,
+Henri, Catherine, or Marguerite, of whom Dumas wrote in the Valois
+romances.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_264.jpg" alt="" /></div>
+<p class="center">THE GARDENS OF THE TUILERIES</p>
+<p>&nbsp;</p>
+
+<p>The general ground-plan of the two distinct portions is the same, except
+for some minor additions of Napoleon I. and the connecting links built by
+Napoleon III., and many of the apartments are of course much the same, but
+there has been a general laying out of the courts anew, and tree-planting
+and grading of the streets and quais in the immediate neighbourhood; so
+much so that almost the entire aspect is changed. In spite of its
+compositeness, there is a certain aspect of uniformity of outline, though
+not of excellence of design.</p>
+
+<p>The only relics of the Palace of the Tuileries are the colonnettes set
+about in the garden and surmounted by gilded balls.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span></p>
+<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV.</h2>
+<h3>THE PALAIS ROYAL</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">It</span> seems hardly necessary to more than mention the name of the Palais
+Royal, in connection with either the life or the writings of Alexandre
+Dumas, to induce a line of thought which is practically limitless. It was
+identified with Dumas&#8217; first employment in the capital, and it has been
+the scene of much of the action of both the D&#8217;Artagnan and the Valois
+romances.</p>
+
+<p>More than all else, however, though one is apt to overlook it somewhat, it
+is so closely identified with Richelieu that it is difficult to separate
+it from any event of French political history of the period.</p>
+
+<p>It was built by Richelieu in 1629, on the site occupied by the H&ocirc;tels de
+Merc&oelig;ur and Rambouillet, and was originally intended to have borne the
+name of H&ocirc;tel Richelieu. Toward 1634 it was enlarged, and was known as the
+Palais Cardinal. Finally it was presented, in 1642, to Louis XIII., and at
+his death came to Anne of Austria, when the royal<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span> family removed thither
+and it became known as the Palais Royal.</p>
+
+<p>The incident of the flight of the royal family and Mazarin to St. Germain
+is one of the historic and dramatic incidents which Dumas used as one of
+the events in which D&#8217;Artagnan participated.</p>
+
+<p>The court never returned to make use of the Palais Royal as a royal
+residence, and it became the refuge of Henriette de France, Queen of
+England and widow of Charles I. Thirty years later Louis XIV., who had
+fled from its walls when a child, gave it to his nephew Philippe
+d&#8217;Orleans, Duc de Chartres.</p>
+
+<p>It was during the <i>R&eacute;gence</i> that the famous <i>f&ecirc;tes</i> of the Palais Royal
+were organized,&mdash;they even extended to what the unsympathetic have called
+orgies,&mdash;but it is certain that no town residences of kings were ever as
+celebrated for their splendid functions as was the Palais Royal in the
+seventeenth century.</p>
+
+<p>In 1763 a fire brought about certain reconstructions at the expense of the
+city of Paris. In 1781, it became again the prey of fire; and
+Philippe-&Eacute;galit&eacute;, who was then Duc de Chartres, constructed the three vast
+galleries which surround the Palais of to-day.</p>
+
+<p>The <i>boutiques</i> of the galleries were let to <span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span>merchants of all manner of
+foibles, and it became the most lively quarter of Paris.</p>
+
+<p>The public adopted the galleries as fashionable promenades, which became,
+for the time, &#8220;<i>un bazar europ&eacute;en et un rendez-vous d&#8217;affaires et de
+galanterie</i>.&#8221;</p>
+
+<p>It was in 1783 that the Duc d&#8217;Orleans constructed &#8220;<i>une salle de
+spectacle</i>,&#8221; which to-day is the Th&eacute;&acirc;tre du Palais Royal, and in the
+middle of the garden a <i>cirque</i> which ultimately came to be transformed
+into a restaurant.</p>
+
+<p>The purely theatrical event of the history of the Palais Royal came on the
+13th of July, 1789, when at midday&mdash;as the <i>coup</i> of a <i>petit canon</i> rang
+out&mdash;a young unknown <i>avocat</i>, Camille Desmoulins, mounted a chair and
+addressed the throng of promenaders in a thrilling and vibrant voice:</p>
+
+<p>&#8220;<i>Citoyens, j&#8217;arrive de Versailles!</i>&mdash;Necker is fled and the Baron
+Breteuil is in his place. Breteuil is one of those who have demanded the
+head of Mirabeau ... there remains but one resource, and that &#8216;to arms&#8217;
+and to wear the cockade that we may be known. <i>Quelle couleur
+voulez-vous?</i>&#8221;</p>
+
+<p>With almost a common accord the tricolour was adopted&mdash;and the next day
+the Bastille fell.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_268.jpg" alt="The Orleans Bureau, Palais Royal" /></div>
+<p>&nbsp;</p>
+
+<p>Dumas&#8217; account of the incident, taken from &#8220;The Taking of the Bastille,&#8221;
+is as follows:</p>
+
+<p><span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span>&#8220;During this time the procession kept on advancing; it had moved obliquely
+to the left, and had gone down the Rue Montmartre to the Place des
+Victoires. When it reached the Palais Royal some great impediment
+prevented its passing on. A troop of men with green leaves in their hats
+were shouting &#8216;To arms!&#8217;</p>
+
+<p>&#8220;It was necessary to reconnoitre. Were these men who blocked up the Rue
+Vivienne friends or enemies? Green was the colour of the Count d&#8217;Artois.
+Why then these green cockades?</p>
+
+<p>&#8220;After a minute&#8217;s conference all was explained.</p>
+
+<p>&#8220;On learning the dismissal of Necker, a young man had issued from the Caf&eacute;
+Foy, had jumped upon a table in the garden of the Palais Royal, and,
+taking a pistol from his breast, had cried &#8216;To arms!&#8217;</p>
+
+<p>&#8220;On hearing this cry, all the persons who were walking there had assembled
+around him, and had shouted &#8216;To arms!&#8217;</p>
+
+<p>&#8220;We have already said that all the foreign regiments had been collected
+around Paris. One might have imagined that it was an invasion by the
+Austrians. The names of these regiments alarmed the ears of all Frenchmen;
+they were Reynac, Salis Samade, Diesbach, Esterhazy, Roemer; the very
+naming of them was sufficient to make the crowd understand that they were
+the names of enemies.<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span> The young man named them; he announced that the
+Swiss were encamped in the Champs Elys&eacute;es, with four pieces of artillery,
+and that they were to enter Paris the same night, preceded by the
+dragoons, commanded by Prince Lambesq. He proposed a new cockade which was
+not theirs, snatched a leaf from a chestnut-tree and placed it in the band
+of his hat. Upon the instant every one present followed his example. Three
+thousand persons had in ten minutes unleaved the trees of the Palais
+Royal.</p>
+
+<p>&#8220;That morning no one knew the name of that young man; in the evening it
+was in every mouth.</p>
+
+<p>&#8220;That young man&#8217;s name was Camille Desmoulins.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>After 1793 the Palais Royal was converted, by decree, into the Palais et
+Jardin de la R&eacute;volution; and reunited to the domains of the state.
+Napoleon I. granted its use to the Tribunal for its seances, and Lucien
+Bonaparte inhabited it for the &#8220;Hundred Days.&#8221; In 1830 Louis-Philippe, Duc
+d&#8217;Orleans, gave there a f&ecirc;te in honour of the King of Naples, who had come
+to pay his respects to the King of France. Charles X. assisted as an
+invited guest at the function, but one month after he had inhabited it as king.</p>
+
+<p><span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span>Under Napoleon III. the Palais Royal was the residence of Prince Jerome,
+the uncle of the emperor, afterward that of his son the Prince Napoleon,
+when the <i>fleur-de-lis</i> sculptured on the fa&ccedil;ade gave way before
+escutcheons bearing the imperial eagles, which in turn have since given
+way to the Republican device of &#8220;&#8217;48&#8221;&mdash;&#8220;Libert&eacute;, &Eacute;galit&eacute;, Fraternit&eacute;.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>It is with a remarkable profusion of detail&mdash;for Dumas, at any rate&mdash;that
+the fourteenth chapter of &#8220;The Conspirators&#8221; opens.</p>
+
+<p>It is a veritable guide-book phraseology and conciseness, which describes
+the streets of the Palais Royal quarter:</p>
+
+<p>&#8220;The evening of the same day, which was Sunday, toward eight o&#8217;clock, at
+the moment when a considerable group of men and women, assembled around a
+street singer, who was playing at the same time the cymbals with his knees
+and the tambourine with his hands, obstructed the entrance to the Rue de
+Valois, a musketeer and two of the light horse descended a back staircase
+of the Palais Royal, and advanced toward the Passage du Lyc&eacute;e, which, as
+every one knows, opened on to that street; but seeing the crowd which
+barred the way, the three soldiers stopped and appeared to take counsel.
+The result <span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span>of their deliberation was doubtless that they must take
+another route, for the musketeer, setting the example of a new
+man&oelig;uvre, threaded the Cour des Fontaines, turned the corner of the Rue
+des Bons Enfants, and, walking rapidly,&mdash;though he was extremely
+corpulent,&mdash;arrived at No. 22, which opened as by enchantment at his
+approach, and closed again on him and his two companions.</p>
+
+<p>&#8220;... The crowd dispersed. A great many men left the circle, singly, or two
+and two, turning toward each other with an imperceptible gesture of the
+hand, some by the Rue de Valois, some by the Cour des Fontaines, some by
+the Palais Royal itself, thus surrounding the Rue des Bons Enfants, which
+seemed to be the centre of the rendezvous.&#8221;</p>
+
+<p>The locality has not changed greatly since the times of which Dumas wrote,
+and if one would see for himself this Rue de Bons Enfants, Num&eacute;ro 22, and
+try to find out how the Regent of France was able to climb over the
+roof-tops to the Palais Royal, for a wager, he may still do so, for
+apparently the roof-tops have changed but little. The especial connection
+of the Rue des Bons Enfants with literature is perhaps Sylvestre&#8217;s
+establishment, which will, for a price, sell you almost any French
+celebrity&#8217;s autograph, be he king, prince, painter, or litterateur.</p>
+
+<p><span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span>In the &#8220;Vicomte de Bragelonne&#8221; there is a wonderfully interesting chapter,
+which describes Mazarin&#8217;s gaming-party at the Palais Royal.</p>
+
+<p>In that it enters somewhat more into detail than is usual with Dumas, it
+appears worth quoting here, if only for its description of the furnishing
+of the <i>salle</i> in which the event took place, and its most graphic and
+truthful picture of the great cardinal himself:</p>
+
+<p>&#8220;In a large chamber of the Palais Royal, covered with a dark-coloured
+velvet, which threw into strong relief the gilded frames of a great number
+of magnificent pictures, on the evening of the arrival of the two
+Frenchmen, the whole court was assembled before the alcove of M. le
+Cardinal de Mazarin, who gave a party, for the purposes of play, to the
+king and queen. A small screen separated three prepared tables. At one of
+these tables the king and the two queens were seated. Louis XIV., placed
+opposite to the young queen, his wife, smiled upon her with an expression
+of real happiness. Anne of Austria held the cards against the cardinal,
+and her daughter-in-law assisted her in her game, when she was not engaged
+in smiling at her husband. As for the cardinal, who was reclining on his
+bed, his cards were held by the Comtesse de Soissons,<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span> and he watched them
+with an incessant look of interest and cupidity.</p>
+
+<p>&#8220;The cardinal had been painted by Bernouin; but the rouge, which glowed
+only on his cheeks, threw into stronger contrast the sickly pallor of the
+rest of his countenance and the shining yellow of his brow. His eyes alone
+acquired a more lively expression from this auxiliary, and upon those sick
+man&#8217;s eyes were, from time to time, turned the uneasy looks of the king,
+the queen, and the courtiers. The fact is, that the two eyes of Mazarin
+were the stars more or less brilliant in which the France of the
+seventeenth century read its destiny every evening and every morning.
+Monseigneur neither won nor lost; he was, therefore, neither gay nor sad.
+It was a stagnation in which, full of pity for him, Anne of Austria would
+not have willingly left him; but in order to attract the attention of the
+sick man by some brilliant stroke, she must have either won or lost. To
+win would have been dangerous, because Mazarin would have changed his
+indifference for an ugly grimace; to lose would likewise have been
+dangerous, because she must have cheated, and the Infanta, who watched her
+game, would, doubtless, have exclaimed against her partiality for Mazarin.
+Profiting by this calm, the courtiers were chatting. When not in a bad<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span>
+humour, M. de Mazarin was a very debonnaire prince, and he, who prevented
+nobody from singing, provided they paid, was not tyrant enough to prevent
+people from talking, provided they made up their minds to lose. They were
+chatting, then. At the first table, the king&#8217;s younger brother, Philip,
+Duc d&#8217;Anjou, was admiring his handsome face in the glass of a box. His
+favourite, the Chevalier de Lorraine, leaning over the <i>fauteuil</i> of the
+prince, was listening, with secret envy, to the Comte de Guiche, another
+of Philip&#8217;s favourites, who was relating in choice terms the various
+vicissitudes of fortune of the royal adventurer, Charles II. He told, as
+so many fabulous events, all the history of his peregrinations in
+Scotland, and his terrors when the enemy&#8217;s party was so closely on his
+track; of nights passed in trees, and days passed in hunger and combats.
+By degrees, the fate of the unfortunate king interested his auditors so
+greatly, that the play languished even at the royal table, and the young
+king, with a pensive look and downcast eye, followed, without appearing to
+give any attention to it, the smallest details of this Odyssey, very
+picturesquely related by the Comte de Guiche.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Again mention of the Palais Royal enters into the action of &#8220;The Queen&#8217;s
+Necklace.&#8221; When<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span> Madame de la Motte and her companion were <i>en route</i> to
+Versailles by cabriolet, &#8220;they met a delay at the gates of the Palais
+Royal, where, in a courtyard, which had been thrown open, were a host of
+beggars crowding around fires which had been lighted there, and receiving
+soup, which the servants of M. le Duc d&#8217;Orleans were distributing to them
+in earthen basins; and as in Paris a crowd collects to see everything, the
+number of the spectators of this scene far exceeded that of the actors.</p>
+
+<p>&#8220;Here, then, they were again obliged to stop, and, to their dismay, began
+to hear distinctly from behind loud cries of &#8216;Down with the cabriolet!
+down with those that crush the poor!&#8217;</p>
+
+<p>&#8220;&#8216;Can it be that those cries are addressed to us?&#8217; said the elder lady to
+her companion.</p>
+
+<p>&#8220;&#8216;Indeed, madame, I fear so,&#8217; she replied.</p>
+
+<p>&#8220;&#8216;Have we, do you think, run over any one?&#8217;</p>
+
+<p>&#8220;&#8216;I am sure you have not.&#8217;</p>
+
+<p>&#8220;&#8216;To the magistrate! to the magistrate!&#8217; cried several voices.</p>
+
+<p>&#8220;&#8216;What in heaven&#8217;s name does it all mean?&#8217; said the lady.</p>
+
+<p>&#8220;&#8216;The crowd reproaches you, madame, with having braved the police order
+which appeared this morning, prohibiting all cabriolets from driving
+through the streets until the spring.&#8217;&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span>This must have been something considerable of an embargo on pleasure, and
+one which would hardly obtain to-day, though asphalted pavements covered
+with a film of frost must offer untold dangers, as compared with the
+streets of Paris as they were then&mdash;in the latter years of the eighteenth
+century.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span></p>
+<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV.</h2>
+<h3>THE BASTILLE</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">The</span> worshipper at the shrines made famous by Dumas&mdash;no less than
+history&mdash;will look in vain for the prison of La Roquette, the Bastille,
+the h&ocirc;tel of the Duc de Guise, at No. 12 Rue du Chaume, that of Coligny in
+the Rue de Bethusy, or of the Montmorencies, &#8220;near the Louvre.&#8221;</p>
+
+<p>They existed, of course, in reality, as they did in the Valois romances,
+but to-day they have disappeared, and not even the &#8220;<i>Commission des
+Monuments Historiques</i>&#8221; has preserved a pictorial representation of the
+three latter.</p>
+
+<p>One of Dumas&#8217; most absorbing romances deals with the fateful events which
+culminated at the Bastille on the 14th Thermidor, 1789. &#8220;This monument,
+this seal of feudality, imprinted on the forehead of Paris,&#8221; said Dumas,
+&#8220;was the Bastille,&#8221; and those who know French history know that he wrote
+truly.</p>
+
+<p><span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span>The action of &#8220;The Taking of the Bastille,&#8221; so far as it deals with the
+actual assault upon it, is brief. So was the event itself. Dumas romances
+but little in this instance; he went direct to fact for his details. He
+says:</p>
+
+<p>&#8220;When once a man became acquainted with the Bastille, by order of the
+king, that man was forgotten, sequestrated, interred, annihilated....</p>
+
+<p>&#8220;Moreover, in France there was not only one Bastille; there were twenty
+other Bastilles, which were called Fort l&#8217;Ev&ecirc;que, St. Lazare, the
+Ch&acirc;telet, the Conciergerie, Vincennes, the Castle of La Roche, the Castle
+of If, the Isles of St. Marguerite, Pignerolles, etc.</p>
+
+<p>&#8220;Only the fortress at the Gate St. Antoine was called <i>the Bastille</i>, as
+<i>Rome</i> was called <i>the</i> city....</p>
+
+<p>&#8220;During nearly a whole century the governorship of the Bastille had
+continued in one and the same family.</p>
+
+<p>&#8220;The grandfather of this elect race was M. de Chateauneuf; his son
+Lavrilli&egrave;re succeeded him, who, in turn, was succeeded by his grandson,
+St. Florentin. The dynasty became extinct in 1777....</p>
+
+<p>&#8220;Among the prisoners, it will be recollected, the following were of the
+greatest note:</p>
+
+<p>&#8220;The Iron Mask, Lauzun, Latude.</p>
+
+<p><span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span>&#8220;The Jesuits were connoisseurs; for greater security they confessed the
+prisoners.</p>
+
+<p>&#8220;For greater security still, the prisoners were buried under
+supposititious names.</p>
+
+<p>&#8220;The Iron Mask, it will be remembered, was buried under the name of
+Marchiali. He had remained forty-five years in prison.</p>
+
+<p>&#8220;Lauzun remained there fourteen years.</p>
+
+<p>&#8220;Latude, thirty years....</p>
+
+<p>&#8220;But, at all events, the Iron Mask and Lauzun had committed heinous
+crimes.</p>
+
+<p>&#8220;The Iron Mask, whether brother or not of Louis XIV., it is asserted,
+resembled King Louis XIV. so strongly, that it was almost impossible to
+distinguish the one from the other.</p>
+
+<p>&#8220;It is exceedingly imprudent to dare to resemble a king.</p>
+
+<p>&#8220;Lauzun had been very near marrying, or did actually marry, the Grande
+Mademoiselle.</p>
+
+<p>&#8220;It is exceedingly imprudent to dare to marry the niece of King Louis
+XIII., the granddaughter of Henri IV.</p>
+
+<p>&#8220;But Latude, poor devil, what had he done?</p>
+
+<p>&#8220;He had dared to fall in love with Mlle. Poisson, Dame de Pompadour, the
+king&#8217;s mistress.</p>
+
+<p>&#8220;He had written a note to her.</p>
+
+<p>&#8220;This note, which a respectable woman would<span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span> have sent back to the man who
+wrote it, was handed by Madame de Pompadour to M. de Sartines, the
+lieutenant-general of police.&#8221;</p>
+
+<p>&#8220;To the Bastille!&#8221; was the cry upon which Dumas built up his story.</p>
+
+<p>&#8220;&#8216;To the Bastille!&#8217;</p>
+
+<p>&#8220;Only that it was a senseless idea, as the soldiers had remarked, that the
+Bastille could be taken.</p>
+
+<p>&#8220;The Bastille had provisions, a garrison, artillery.</p>
+
+<p>&#8220;The Bastille had walls, which were fifteen feet thick at their summit,
+and forty at their base.</p>
+
+<p>&#8220;The Bastille had a governor, whose name was De Launay, who had stored
+thirty thousand pounds of gunpowder in his cellars, and who had sworn, in
+case of being surprised by a <i>coup de main</i>, to blow up the Bastille, and
+with it half the Faubourg St. Antoine.&#8221;</p>
+
+<p>Dumas was never more chary of tiresome description than in the opening
+chapters of this book. Chapter XVI. opens as follows:</p>
+
+<p>&#8220;We will not describe the Bastille&mdash;it would be useless.</p>
+
+<p>&#8220;It lives as an eternal image, both in the memory of the old and in the
+imagination of the young.</p>
+
+<p>&#8220;We shall content ourselves with merely stating, that, seen from the
+boulevard, it presented, in front <span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span>of the square then called Place de la
+Bastille, two twin towers, while its two fronts ran parallel with the
+banks of the canal which now exists.</p>
+
+<p>&#8220;The entrance to the Bastille was defended, in the first place, by a
+guard-house, then by two lines of sentinels, and besides these by two
+drawbridges.</p>
+
+<p>&#8220;After having passed through these several obstacles, you came to the
+courtyard of the government-house&mdash;that is to say, the residence of the
+governor.</p>
+
+<p>&#8220;From this courtyard a gallery led to the ditches of the Bastille.</p>
+
+<p>&#8220;At this other entrance, which opened upon the ditches, was a drawbridge,
+a guard-house, and an iron gate.&#8221;</p>
+
+<p>Then follow some pages of incident and action, which may be fact or may be
+fiction. The detail which comes after is picturesque and necessary to the
+plot:</p>
+
+<p>&#8220;The interior court, in which the governor was waiting for Billot, was the
+courtyard which served as a promenade to the prisoners. It was guarded by
+eight towers&mdash;that is to say, by eight giants. No window opened into it.
+Never did the sun shine on its pavement, which was damp and almost muddy.
+It might have been thought the bottom of an immense well.</p>
+
+<p><span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span>&#8220;In this courtyard was a clock, supported by figures representing
+enchained captives, which measured the hours, from which fell the regular
+and slow sounds of the minutes as they passed by, as in a dungeon the
+droppings from the ceiling eat into the pavement slabs on which they fall.</p>
+
+<p>&#8220;At the bottom of this well, the prisoner, lost amid the abyss of stone,
+for a moment contemplated its cold nakedness, and soon asked to be allowed
+to return to his room....</p>
+
+<p>&#8220;At the Bastille, all the places were sold to the highest bidder, from
+that of the governor himself, down to that of the scullion. The governor
+of the Bastille was a gaoler on a grand scale, an eating-house keeper
+wearing epaulets, who added to his salary of sixty thousand livres sixty
+thousand more, which he extorted and plundered....</p>
+
+<p>&#8220;M. de Launay, in point of avarice, far surpassed his predecessors. This
+might, perhaps, have arisen from his having paid more for the place, and
+having foreseen that he would not remain in it so long as they did.</p>
+
+<p>&#8220;He fed his whole house at the expense of his prisoners. He had reduced
+the quantity of firing, and doubled the hire of furniture in each room.</p>
+
+<p>&#8220;He had the right of bringing yearly into Paris a hundred pipes of wine,
+free of duty. He sold<span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span> his right to a tavern-keeper, who brought in wines
+of excellent quality. Then, with a tenth part of this duty, he purchased
+the vinegar with which he supplied his prisoners.&#8221;</p>
+
+<p>The rest of Dumas&#8217; treatment of the fall of the Bastille is of the
+historical kind. He does not blame De Launay for the fall, but by no means
+does he make a hero of him.</p>
+
+<p>&#8220;A flash of fire, lost in a cloud of smoke, crowned the summit of a tower;
+a detonation resounded; cries of pain were heard issuing from the closely
+pressed crowd; the first cannon-shot had been fired from the Bastille; the
+first blood had been spilled. The battle had commenced....</p>
+
+<p>&#8220;On hearing the detonation we have spoken of, the two soldiers who were
+still watching M. de Launay threw themselves upon him; a third snatched up
+the match, and then extinguished it by placing his heel upon it.</p>
+
+<p>&#8220;De Launay drew the sword which was concealed in his cane, and would have
+turned it against his own breast, but the soldiers seized it and snapped
+it in two.</p>
+
+<p>&#8220;He then felt that all he could do was to resign himself to the result; he
+therefore tranquilly awaited it.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 409px;"><img src="images/fp_284.jpg" alt="" /></div>
+<p class="center">THE FALL OF THE BASTILLE</p>
+<p>&nbsp;</p>
+
+<p>&#8220;The people rush forward; the garrison open <span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span>their arms to them; and the
+Bastille is taken by assault&mdash;by main force, without a capitulation.</p>
+
+<p>&#8220;The reason for this was that, for more than a hundred years, the royal
+fortress had not merely imprisoned inert matter within its walls&mdash;it had
+imprisoned thought also. Thought had thrown down the walls of the
+Bastille, and the people entered by the breach.&#8221;</p>
+
+<p>The life-history of the Bastille was more extended than was commonly
+recalled. Still the great incident in its life covered but fifteen short
+days,&mdash;from the 30th June to the 14th July, 1789,&mdash;when it fell before the
+attack of the Revolutionists. There is rather vague markings in the
+pavement on the Boulevard Henri Quatre and the Rue St. Antoine, which
+suggest the former limits of this gruesome building.</p>
+
+<p>It were not possible to catalogue all the scenes of action celebrated or
+perpetuated by Alexandre Dumas.</p>
+
+<p>In his &#8220;Crimes C&eacute;l&egrave;bres&#8221; he&mdash;with great definiteness&mdash;pictures dark scenes
+which are known to all readers of history; from that terrible affair of
+the Cenci, which took place on the terrace of the Ch&acirc;teau de Rocca
+Petrella, in 1598, to the assassination of Kotzebue by Karl Ludwig Sand in 1819.</p>
+
+<p><span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span>Not all of these crimes deal with Paris, nor with France.</p>
+
+<p>The most notable was the poisoning affair of the Marquise de Brinvilliers
+(1676), who was forced to make the &#8220;<i>amende honorable</i>&#8221; after the usual
+manner, on the Parvis du N&ocirc;tre Dame, that little tree-covered place just
+before the west fa&ccedil;ade of the cathedral.</p>
+
+<p>The Chevalier Gaudin de Ste. Croix, captain of the Regiment de Tracy, had
+been arrested in the name of the king, by process of the &#8220;<i>lettre de
+cachet</i>&#8221; and forthwith incarcerated in the Bastille, which is once more
+made use of by Dumas, though in this case, as in many others, it is
+historic fact as well. The story, which is more or less one of conjugal
+and filial immorality, as well as political intrigue, shifts its scene
+once and again to the Cul-de-sac des Marchands des Chevaux, in the Place
+Maubert, to the For&ecirc;t de l&#8217;Aigue&mdash;within four leagues of Compi&egrave;gne, the
+Place du Ch&acirc;telet, the Conciergerie, and the Bastille.</p>
+
+<p>Here, too, Dumas&#8217; account of the &#8220;question by water,&#8221; or, rather, the
+notes on the subject, which accompanied the first (1839) edition of &#8220;Les
+Crimes C&eacute;l&egrave;bres,&#8221; form interesting, if rather horrible, reading.</p>
+
+<p><span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span>Not alone in the Bastille was this horrible torture practised, but in most
+of the prisons of the time.</p>
+
+<p>&#8220;<i>Pour la &#8216;question ordinaire,&#8217; quatre coquemars pleins d&#8217;eau, et
+contenant chacun deux pintes et demi, et pour &#8216;la question extraordinaire&#8217;
+huit de m&ecirc;me grandeur.</i>&#8221;</p>
+
+<p>This was poured into the victim through a funnel, which entered the mouth,
+and sooner or later drowned or stifled him or her, or induced confession.</p>
+
+<p>The final act and end of the unnatural Marquise de Brinvilliers took place
+at the Place de la Gr&egrave;ve, which before and since was the truly celebrated
+place of many noted crimes, though in this case it was justice that was
+meted out.</p>
+
+<p>As a sort of sequel to &#8220;The Conspirators,&#8221; Dumas adds &#8220;A Postscriptum,&#8221;
+wherein is recounted the arrest of Richelieu, as foreordained by Mlle. de
+Valois. He was incarcerated in the Bastille; but his captivity was but a
+new triumph for the crafty churchman.</p>
+
+<p>&#8220;It was reported that the handsome prisoner had obtained permission to
+walk on the terrace of the Bastille. The Rue St. Antoine was filled with
+most elegant carriages, and became, in twenty-four hours, the fashionable
+promenade. The regent&mdash;who declared that he had proofs of the treason of
+M. de <span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span>Richelieu, sufficient to lose him four heads if he had them&mdash;would
+not, however, risk his popularity with the fair sex by keeping him long in
+prison. Richelieu, again at liberty, after a captivity of three months,
+was more brilliant and more sought after than ever; but the closet had
+been walled up, and Mlle. de Valois became Duchesse de Modena.&#8221;</p>
+
+<p>Not only in the &#8220;Vicomte de Bragelonne&#8221; and &#8220;The Taking of the Bastille&#8221;
+does Dumas make mention of &#8220;The Man in the Iron Mask,&#8221; but, to still
+greater length, in the supplementary volume, called in the English
+translations &#8220;The Man in the Iron Mask,&#8221; though why it is difficult to
+see, since it is but the second volume of &#8220;The Vicomte de Bragelonne.&#8221;</p>
+
+<p>This historical mystery has provided penmen of all calibres with an
+everlasting motive for argumentative conjecture, but Dumas without
+hesitancy comes out strongly for &#8220;a prince of the royal blood,&#8221; probably
+the brother of Louis XIV.</p>
+
+<p>It has been said that Voltaire invented &#8220;the Man in the Iron Mask.&#8221;</p>
+
+<p>There was nothing singular&mdash;for the France of that day&mdash;in the man
+himself, his offence, or his punishment; but the mask and the
+mystery&mdash;chiefly of Voltaire&#8217;s creation&mdash;fascinated the public, as the
+veil of Mokanna fascinated his worshippers.<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span> Here are some of the
+Voltairean myths about this mysterious prisoner: One day he wrote
+something with his knife on a silver plate and threw it down to a
+fisherman, who took it to the governor of the prison. &#8220;Have you read it?&#8221;
+asked the governor, sternly. &#8220;I cannot read,&#8221; replied the fisherman. &#8220;That
+has saved your life,&#8221; rejoined the governor. Another day a young lad found
+beneath the prison tower a shirt written closely all over. He took it to
+the governor, who asked, anxiously. &#8220;Have you read it?&#8221; The boy again and
+again assured him that he had not. Nevertheless, two days later the boy
+was found dead in his bed. When the Iron Mask went to mass he was
+forbidden to speak or unmask himself on pain of being then and there shot
+down by the invalids, who stood by with loaded carbines to carry out the
+threat. Here are some of the personages the Iron Mask was supposed to be:
+An illegitimate son of Anne of Austria; a twin brother of Louis XIV., put
+out of the way by Cardinal Richelieu to avoid the risk of a disputed
+succession; the Count of Vermandois, an illegitimate son of Louis XIV.;
+Fouquet, Louis&#8217; minister; the Duke of Beaufort, a hero of the Fronde; the
+Duke of Monmouth, the English pretender; Avedick, the Armenian patriarch;
+and of late it has<span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span> almost come to be accepted that he was Mattioli, a
+Piedmontese political prisoner, who died in 1703.</p>
+
+<p>Dumas, at any rate, took the plausible and acceptable popular solution;
+and it certainly furnished him with a highly fascinating theme for a
+romance, which, however, never apparently achieved any great popularity.</p>
+
+<p>&#8220;The clock was striking seven as Aramis passed before the Rue du Petit
+Muse and stopped at the Rue Tourelles, at the gateway of the Bastille....</p>
+
+<p>&#8220;Of the governor of the prison Aramis&mdash;now Bishop of Vannes&mdash;asked, &#8216;How
+many prisoners have you? Sixty?&#8217;...</p>
+
+<p>&#8220;&#8216;For a prince of the blood I have fifty francs a day, ... thirty-six for
+a marechal de France, lieutenant-generals and brigadiers pay twenty-six
+francs, and councillors of parliament fifteen, but for an ordinary judge,
+or an ecclesiastic, I receive only ten francs.&#8217;&#8221;</p>
+
+<p>Here Dumas&#8217; knowledge and love of good eating again crops out. Continuing
+the dialogue between the bishop and the governor, he says:</p>
+
+<p>&#8220;&#8216;A tolerably sized fowl costs a franc and a half, and a good-sized fish
+four or five francs. Three meals a day are served, and, as the prisoners
+have nothing to do, they are always eating. A<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span> prisoner from whom I get
+ten francs costs me seven francs and a half.&#8217;</p>
+
+<p>&#8220;&#8216;Have you no prisoners, then, at less than ten francs?&#8217; queried Aramis.</p>
+
+<p>&#8220;&#8216;Oh, yes,&#8217; said the governor, &#8216;citizens and lawyers.&#8217;</p>
+
+<p>&#8220;&#8216;But do they not eat, too?... Do not the prisoners leave some scraps?&#8217;
+continued Aramis.</p>
+
+<p>&#8220;&#8216;Yes, and I delight the heart of some poor little tradesman or clerk by
+sending him a wing of a red partridge, a slice of venison, or a slice of a
+truffled pasty, dishes which he never tasted except in his dreams (these
+are the leavings of the twenty-four-franc prisoners); and he eats and
+drinks, and at dessert cries, &#8220;Long live the king!&#8221; and blesses the
+Bastille. With a couple of bottles of champagne, which cost me five sous,
+I make him tipsy every Sunday. That class of people call down blessings
+upon me, and are sorry to leave the prison. Do you know that I have
+remarked, and it does me infinite honour, that certain prisoners, who have
+been set at liberty, have almost immediately afterward got imprisoned
+again? Why should this be the case, unless it be to enjoy the pleasures of
+my kitchen? It is really the fact.&#8217; Aramis smiled with an expression of
+incredulity.&#8221;</p>
+
+<p>A visit to the prisoners themselves follows, but<span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span> the reader of these
+lines is referred to &#8220;Le Vicomte de Bragelonne&#8221; for further details.</p>
+
+<p>The following few lines must suffice here:</p>
+
+<p>&#8220;The number of bolts, gratings, and locks for the courtyard would have
+sufficed for the safety of an entire city. Aramis was neither an
+imaginative nor a sensitive man; he had been somewhat of a poet in his
+youth, but his heart was hard and indifferent, as the heart of every man
+of fifty-five years of age is, who has been frequently and passionately
+attached to women in his lifetime, or rather who has been passionately
+loved by them. But when he placed his foot upon the worn stone steps,
+along which so many unhappy wretches had passed, when he felt himself
+impregnated, as it were, with the atmosphere of those gloomy dungeons,
+moistened with tears, there could be but little doubt he was overcome by
+his feelings, for his head was bowed and his eyes became dim, as he
+followed Baisemeaux, the governor, without uttering a syllable.&#8221;</p>
+
+<p>Dumas gives a further description, of similar import, in &#8220;The Regent&#8217;s
+Daughter:&#8221;</p>
+
+<p>&#8220;And now, with the reader&#8217;s permission, we will enter the Bastille&mdash;that
+formidable building at which even the passing traveller trembled, and
+which, to the whole neighbourhood, was an annoyance and cause of alarm;
+for often at night the <span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span>cries of the unfortunate prisoners who were under
+torture might be heard piercing the thick walls, so much so, that the
+Duchesse de Lesdequieres once wrote to the governor, that, if he did not
+prevent his patients from making such a noise, she should complain to the
+king.</p>
+
+<p>&#8220;At this time, however, under the reign of Philippe d&#8217;Orleans, there were
+no cries to be heard; the society was select, and too well bred to disturb
+the repose of a lady.</p>
+
+<p>&#8220;In a room in the Du Coin tower, on the first floor, was a prisoner
+alone.... He had, however, been but one day in the Bastille, and yet
+already he paced his vast chamber, examining the iron-barred doors,
+looking through the grated windows, listening, sighing, waiting....</p>
+
+<p>&#8220;A noise of bolts and creaking hinges drew the prisoner from this sad
+occupation, and he saw the man enter before whom he had been taken the day
+before. This man, about thirty years of age, with an agreeable appearance
+and polite bearing, was the governor, M. De Launay, father of that De
+Launay who died at his post in &#8217;89....</p>
+
+<p>&#8220;&#8216;M. de Chanlay,&#8217; said the governor, bowing, &#8216;I come to know if you have
+passed a good night, and are satisfied with the fare of the house and the<span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span>
+conduct of the employ&eacute;s&#8217;&mdash;thus M. De Launay, in his politeness, called the
+turnkeys and jailors.</p>
+
+<p>&#8220;&#8216;Yes, monsieur; and these attentions paid to a prisoner have surprised
+me, I own.&#8217;</p>
+
+<p>&#8220;&#8216;The bed is hard and old, but yet it is one of the best; luxury being
+forbidden by our rules. Your room, monsieur, is the best in the Bastille;
+it has been occupied by the Duc d&#8217;Angoul&ecirc;me, by the Marquis de
+Bassompierre, and by the Marshals de Luxembourg and Biron; it is here that
+I lodge the princes when his Majesty does me the honour to send them to
+me.&#8217;</p>
+
+<p>&#8220;&#8216;It is an excellent lodging,&#8217; said Gaston, smiling, &#8216;though ill
+furnished; can I have some books, some paper, and pens?&#8217;</p>
+
+<p>&#8220;&#8216;Books, monsieur, are strictly forbidden; but if you very much wish to
+read, as many things are allowed to a prisoner who is <i>ennuy&eacute;</i>, come and
+see me, then you can put in your pocket one of those volumes which my wife
+or I leave about; you will hide it from all eyes; on a second visit you
+will take the second volume, and to this abstraction we will close our
+eyes.&#8217;</p>
+
+<p>&#8220;&#8216;And paper, pens, ink?&#8217; said Gaston. &#8216;I wish most particularly to write.&#8217;</p>
+
+<p>&#8220;&#8216;No one writes here, monsieur; or, at least, only to the king, the
+regent, the minister, or to me; <span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span>but they draw, and I can let you have
+drawing-paper and pencils.&#8217;&#8221;</p>
+
+<p>All of the above is the authenticated fact of history, as written records
+prove, but it is much better told by Dumas, the novelist, than by most
+historians.</p>
+
+<p>Still other evidence of the good things set before the guests at the
+&#8220;H&ocirc;tel de la Bastille&#8221; is shown by the following. If Dumas drew the facts
+from historical records, all well and good; if they were menus composed by
+himself,&mdash;though unconventional ones, as all <i>bon vivants</i> will
+know,&mdash;why, still all is well.</p>
+
+<p>&#8220;&#8216;A fifteen-franc boarder does not suffer, my lord,&#8217; said De
+Baisemeaux.&mdash;&#8216;He suffers imprisonment, at all events.&#8217;&mdash;&#8216;No doubt, but his
+suffering is sweetened for him. You must admit this young fellow was not
+born to eat such things as he now has before him. A pasty; crayfish from
+the river Marne&mdash;almost as big as lobsters; and a bottle of Volnay.&#8217;&#8221;</p>
+
+<p>The potency of the Bastille as a preventative, or, rather, a fit
+punishment for crime, has been nowhere more effectually set forth than by
+the letter which Cagliostro wrote from London (in the &#8220;Queen&#8217;s Necklace&#8221;).</p>
+
+<p>In this letter, after attacking king, queen, <span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span>cardinal, and even M. de
+Breteuil, Cagliostro said: &#8220;Yes, I repeat, now free after my imprisonment,
+there is no crime that would not be expiated by six months in the
+Bastille. They ask me if I shall ever return to France. Yes, I reply, when
+the Bastille becomes a public promenade. You have all that is necessary to
+happiness, you Frenchmen; a fertile soil and genial climate, good hearts,
+gay tempers, genius, and grace. You only want, my friends, one little
+thing&mdash;to feel sure of sleeping quietly in your beds when you are
+innocent.&#8221;</p>
+
+<p>To-day &#8220;The Bastille,&#8221; as it is commonly known and referred to, meaning
+the Place de la Bastille, has become a public promenade, and its bygone
+terrors are but a memory.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span></p>
+<h2><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI.</h2>
+<h3>THE ROYAL PARKS AND PALACES</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Since</span> the romances of Dumas deal so largely with Paris, it is but natural
+that much of their action should take place at the near-by country
+residences of the royalty and nobility who form the casts of these great
+series of historical tales.</p>
+
+<p>To-day Fontainebleau, St. Germain, Versailles, and even Chantilly,
+Compi&egrave;gne, and Rambouillet are but mere attractions for the tourist of the
+butterfly order. The real Parisian never visits them or their precincts,
+save as he rushes through their tree-lined avenues in an automobile; and
+thus they have all come to be regarded merely as monuments of splendid
+scenes, which have been played, and on which the curtain has been rung
+down.</p>
+
+<p>This is by no means the real case, and one has only to read Dumas, and do
+the round of the parks and ch&acirc;teaux which environ Paris, to revivify many
+of the scenes of which he writes.</p>
+
+<p><span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span>Versailles is the most popular, Fontainebleau the most grand, St. Germain
+the most theatrical, Rambouillet the most rural-like, and Compi&egrave;gne and
+Chantilly the most delicate and dainty.</p>
+
+<p>Still nearer to Paris, and more under the influence of town life, were the
+ch&acirc;teaux of Madrid in the Bois de Boulogne, and of Vincennes, at the other
+extremity of the city.</p>
+
+<p>All these are quite in a class by themselves; though, of course, in a way,
+they performed the same functions when royalty was in residence, as the
+urban palaces.</p>
+
+<p>Dumas&#8217; final appreciation of the charms of Fontainebleau does not come
+till one reaches the last pages of &#8220;Le Vicomte de Bragelonne.&#8221; True, it
+was not until the period of which this romance deals with Fontainebleau,
+its ch&acirc;teau, its <i>for&ecirc;t</i>, and its f&ecirc;tes, actually came to that prominence
+which to this day has never left them.</p>
+
+<p>When the king required to give his f&ecirc;te at Fontainebleau, as we learn from
+Dumas, and history, too, he required of Fouquet four millions of francs,
+&#8220;in order to keep an open house for fifteen days,&#8221; said he. How he got
+them, and with what result, is best read in the pages of the romance.</p>
+
+<p>&#8220;Life at the Palais Royal having become somewhat tame, the king had
+directed that Fontainebleau<span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span> should be prepared for the reception of the
+court.&#8221; Here, then, took place the f&ecirc;tes which were predicted, and Dumas,
+with his usual directness and brilliance, has given us a marvellous
+description of the gaiety of court life, surrounded by the noble forest,
+over which artists and sentimentalists have ever rhapsodized.</p>
+
+<p>Continuing, from the pages of Dumas which immediately follow, one reads:</p>
+
+<p>&#8220;For four days, every kind of enchantment brought together in the
+magnificent gardens of Fontainebleau, had converted this spot into a place
+of the most perfect enjoyment. M. Colbert seemed gifted with ubiquity. In
+the morning, there were the accounts of the previous night&#8217;s expenses to
+settle; during the day, programmes, essays, enlistments, payments. M.
+Colbert had amassed four millions of francs, and dispersed them with a
+prudent economy. He was horrified at the expenses which mythology
+involved; every wood-nymph, every dryad, did not cost less than a hundred
+francs a day. The dresses alone amounted to three hundred francs. The
+expense of powder and sulphur for fireworks amounted, every night, to a
+hundred thousand francs. In addition to these, the illuminations on the
+borders of the sheet of water cost thirty thousand francs every evening.
+The f&ecirc;tes <span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span>had been magnificent; and Colbert could not restrain his
+delight. From time to time he noticed Madame and the king setting forth on
+hunting expeditions, or preparing for the reception of different fantastic
+personages, solemn ceremonials, which had been extemporized a fortnight
+before, and in which Madame&#8217;s sparkling wit and the king&#8217;s magnificence
+were equally displayed.&#8221;</p>
+
+<p>The &#8220;Inn of the Beautiful Peacock,&#8221; celebrated by Dumas in &#8220;Le Vicomte de
+Bragelonne,&#8221; is not directly traceable to-day in the many neighbouring
+hostelries of Fontainebleau. Just what Dumas had in mind is vague, though
+his description might apply to any house for travellers, wherever it may
+have been situated in this beautiful wildwood.</p>
+
+<p>It was to this inn of the &#8220;Beau Paon&#8221; that Aramis repaired, after he had
+left Fouquet and had donned the costume of the cavalier once more.
+&#8220;Where,&#8221; said Dumas, &#8220;he (Aramis) had, by letters previously sent,
+directed an apartment or a room to be retained for him. He chose the room,
+which was on the first floor, whereas the apartment was on the second.&#8221;</p>
+
+<p>The description of the establishment given by Dumas is as follows:</p>
+
+<p>&#8220;In the first place, let us supply our readers with a few details about
+the inn called the Beau <span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span>Paon. It owed its name to its sign, which
+represented a peacock spreading out its tail. But, in imitation of some
+painters who had bestowed the face of a handsome young man upon the
+serpent which tempted Eve, the painter of this sign had conferred upon the
+peacock the features of a woman. This inn, a living epigram against that
+half of the human race which renders existence delightful, was situated at
+Fontainebleau, in the first turning on the left-hand side, which divides
+on the road from Paris, that large artery which constitutes in itself
+along the entire town of Fontainebleau. The side street in question was
+then known as the Rue de Lyon, doubtless because geographically it
+advanced in the direction of the second capital of the kingdom.&#8221;</p>
+
+<p>Lyons itself is treated by Dumas at some length in &#8220;Chicot the Jester,&#8221;
+particularly with reference to Chicot&#8217;s interception of the Pope&#8217;s
+messenger, who brought the documents which were to establish the Duc de
+Guise&#8217;s priority as to rights to the throne of France.</p>
+
+<p>&#8220;The inn of the Beau Paon had its principal front toward the main street;
+but upon the Rue de Lyon there were two ranges of buildings, divided by
+courtyards, which comprised sets of apartments for the reception of all
+classes of travellers, whether <span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span>on foot or on horseback, or even with
+their own carriages, and in which could be supplied, not only board and
+lodging, but also accommodation for exercise or opportunities of solitude
+for even the wealthiest courtiers, whenever, after having received some
+check at the court, they wished to shut themselves up with their own
+society, either to devour an affront or to brood over their revenge. From
+the windows of this part of the building the travellers could perceive, in
+the first place, the street with the grass growing between the stones,
+which were being gradually loosened by it; next, the beautiful hedges of
+elder and thorn, which embraced, as though within two green and flowering
+arms, the houses of which we have spoken; and then, in the spaces between
+those houses, forming the groundwork of the picture, and appearing like an
+almost impassable barrier, a line of thick trees, the advanced sentinels
+of the vast forest, which extends itself in front of Fontainebleau.&#8221;</p>
+
+<p>On the road to Versailles, where the Seine is crossed by the not beautiful
+Pont de S&egrave;vres, is the little inn of the Bridge of S&egrave;vres, in which the
+story of &#8220;La Comtesse de Charny&#8221; opens, and, indeed, in which all its
+early action takes place. The inn, or even its direct descendant, is not
+discernible to-day. The Pont de S&egrave;vres is there, linking<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span> one of those
+thumblike peninsulas made by the windings of the Seine with the Bois de
+Meudon, and the traffic inward and outward from Paris is as great and
+varied as it always was, probably greater, but there is no inn to suggest
+that which Dumas had in mind. The rural aspect is somewhat changed, the
+towering stacks of the china-factory chimneys, the still more
+towering&mdash;though distant&mdash;Tour Eiffel, which fortunately is soon to be
+razed, and the iron rails of the &#8220;Ceinture&#8221; and the &#8220;Quest,&#8221; all tend to
+estrange one&#8217;s sentiments from true romance.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 356px;"><img src="images/fp_302.jpg" alt="" /></div>
+<p class="center">INN OF THE PONT DE S&Egrave;VRES</p>
+<p>&nbsp;</p>
+
+<p>Farther on to the westward lies Versailles, with its theatrical, though
+splendid, <i>palais</i> and <i>parc</i>, the Trianons and Les Grandes Eaux, beloved
+by the tourist and the Parisian alike.</p>
+
+<p>Still farther to the northward by the same road is the pretty town of St.
+Germain-en-Laye, with the remains of its Ch&acirc;teau Neuf, once the most
+splendid and gorgeous country residence of Henri II. and Henri IV.,
+continuing, also, in the favour of the court until the birth here of Louis
+XIV. James II. of England made his residence here after his exile.</p>
+
+<p>Dumas&#8217; references to St. Germain are largely found in &#8220;Vingt Ans Apr&egrave;s.&#8221;</p>
+
+<p>It was near St. Germain, too, that Dumas set about erecting his famous
+&#8220;Ch&acirc;telet du Monte Cristo.&#8221; In fact, he did erect it, on his usual
+<span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span>extravagant ideas, but his tenure there was short-lived, and, altogether,
+it was not a creditable undertaking, as after-events proved.</p>
+
+<p>The gaiety of the life at St. Germain departed suddenly, but it is said of
+Dumas&#8217; life there, that he surrounded himself with a coterie which bespoke
+somewhat its former abandon and luxuriance. It was somewhat of a Bohemian
+life that he lived there, no doubt, but it was not of the sordid or humble
+kind; it was most gorgeous and extravagant.</p>
+
+<p>Of all the royal parks and palaces in the neighbourhood of Paris,
+Versailles has the most popularly sentimental interest. A whim of Louis
+XIV., it was called by Voltaire &#8220;an abyss of expense,&#8221; and so it truly
+was, as all familiar with its history know.</p>
+
+<p>In the later volumes of Dumas&#8217; &#8220;La Comtesse de Charnay,&#8221; &#8220;The Queen&#8217;s
+Necklace,&#8221; and &#8220;The Taking of the Bastille,&#8221; frequent mention is made but
+he does not write of it with the same affection that he does of
+Fontainebleau or St. Germain. The details which Dumas presents in &#8220;The
+Taking of the Bastille&#8221; shows this full well.</p>
+
+<p>&#8220;At half-past ten, in ordinary times, every one in Versailles would have
+been in bed and wrapped in the profoundest slumber; but that night no eye
+was<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span> closed at Versailles. They had felt the counter-shock of the terrible
+concussion with which Paris was still trembling.</p>
+
+<p>&#8220;The French Guards, the body-guards, the Swiss drawn up in platoons, and
+grouped near the openings of all the principal streets, were conversing
+among themselves, or with those of the citizens whose fidelity to the
+monarchy inspired them with confidence.</p>
+
+<p>&#8220;For Versailles has, at all times, been a royalist city. Religious respect
+for the monarchy, if not for the monarch, is engrafted in the hearts of
+its inhabitants, as if it were a quality of its soil. Having always lived
+near kings, and fostered by their bounty, beneath the shade of their
+wonders&mdash;having always inhaled the intoxicating perfume of the
+<i>fleurs-de-lis</i>, and seen the brilliant gold of their garments, and the
+smiles upon their august lips, the inhabitants of Versailles, for whom
+kings have built a city of marble and porphyry, feel almost kings
+themselves; and even at the present day, even now, when moss is growing
+around the marble, and grass is springing up between the slabs of the
+pavement, now that gold has almost disappeared from the wainscoting, and
+that the shady walks of the parks are more solitary than a graveyard,
+Versailles must either belie its origin, or must consider itself as a<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span>
+fragment of the fallen monarchy, and no longer feeling the pride of power
+and wealth, must at least retain the poetical associations of regret, and
+the sovereign charms of melancholy. Thus, as we have already stated, all
+Versailles, in the night between the 14th and 15th July, 1789, was
+confusedly agitated, anxious to ascertain how the King of France would
+reply to the insult offered to the throne, and the deadly wound inflicted
+on his power.&#8221;</p>
+
+<p>Versailles was one of the latest of the royal palaces, and since its
+birth, or at least since the days of &#8220;personally&#8221; and &#8220;non-conducted&#8221;
+tourists, has claimed, perhaps, even more than its share of popular
+favour. Certainly it is a rare attraction, and its past has been in turn
+sad, gay, brilliant, and gloomy. Event after event, some significant,
+others unimportant, but none mean or sordid, have taken place within its
+walls or amid its environment. Dumas evidently did not rank its beauties
+very high,&mdash;and perhaps rightly,&mdash;for while it is a gorgeous fabric and
+its surroundings and appointments are likewise gorgeous, it palls
+unmistakably by reason of its sheer artificiality. Dumas said much the
+same thing when he described it as &#8220;that world of automata, of statues,
+and boxwood forests, called Versailles.&#8221;</p>
+
+<p>Much of the action of &#8220;The Queen&#8217;s Necklace&#8221;<span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span> takes place at Versailles,
+and every line relating thereto is redolent of a first-hand observation on
+the part of the author. There is no scamping detail here, nor is there any
+excess of it.</p>
+
+<p>With the fourth chapter of the romance, when Madame de la Motte drove to
+Versailles in her cabriolet, &#8220;built lightly, open, and fashionable, with
+high wheels, and a place behind for a servant to stand,&#8221; begins the record
+of the various incidents of the story, which either took place at
+Versailles or centred around it.</p>
+
+<p>&#8220;&#8216;Where are we to go?&#8217; said Weber, who had charge of madame&#8217;s
+cabriolet.&mdash;&#8216;To Versailles.&#8217;&mdash;&#8216;By the boulevards?&#8217;&mdash;&#8216;No.&#8217;... &#8216;We are at
+Versailles,&#8217; said the driver. &#8216;Where must I stop, ladies?&#8217;&mdash;&#8216;At the Place
+d&#8217;Armes.&#8217;&#8221; &#8220;At this moment,&#8221; says Dumas, in the romance, &#8220;our heroines
+heard the clock strike from the church of St. Louis.&#8221;</p>
+
+<p>Dumas&#8217; descriptions of Versailles are singularly complete, and without
+verboseness. At least, he suggests more of the splendours of that gay
+residence of the court than he actually defines, and puts into the mouths
+of his characters much that others would waste on mere descriptive matter.</p>
+
+<p>In the chapter headed Vincennes, in &#8220;Marguerite de Valois,&#8221; Dumas gives a
+most graphic description of its one-time ch&acirc;teau-prison:</p>
+
+<p><span class="pagenum"><a name="Page_308" id="Page_308">[Pg 308]</a></span>&#8220;According to the order given by Charles IX., Henri was the same evening
+conducted to Vincennes, that famous castle of which only a fragment now
+remains, but colossal enough to give an idea of its past grandeur.</p>
+
+<p>&#8220;At the postern of the prison they stopped. M. de Nancey alighted from his
+horse, opened the gate closed with a padlock, and respectfully invited the
+king to follow him. Henri obeyed without a word of reply. Every abode
+seemed to him more safe than the Louvre, and ten doors, closing on him at
+the same time, were between him and Catherine de Medici.</p>
+
+<p>&#8220;The royal prisoner crossed the drawbridge between two soldiers, passed
+the three doors on the ground floor and the three doors at the foot of the
+staircase, and then, still preceded by M. de Nancey, went up one flight of
+stairs. Arrived there, Captain de Nancey requested the king to follow him
+through a kind of corridor, at the extremity of which was a very large and
+gloomy chamber.</p>
+
+<p>&#8220;Henri looked around him with considerable disquietude.</p>
+
+<p>&#8220;&#8216;Where are we?&#8217; he inquired.</p>
+
+<p>&#8220;&#8216;In the chamber of torture, monseigneur.&#8217;</p>
+
+<p>&#8220;&#8216;Ah, ah!&#8217; replied the king, looking at it attentively.</p>
+
+<p><span class="pagenum"><a name="Page_309" id="Page_309">[Pg 309]</a></span>&#8220;There was something of everything in this apartment: pitchers and
+trestles for the torture by water; wedges and mallets for the question of
+the boot; moreover, there were stone benches for the unhappy wretches who
+awaited the question, nearly all around the chamber; and above these
+seats, and to the seats themselves, and at the foot of these seats, were
+iron rings, mortised into the walls with no symmetry but that of the
+torturing art.</p>
+
+<p>&#8220;&#8216;Ah, ah!&#8217; said Henri, &#8216;is this the way to my apartment?&#8217;</p>
+
+<p>&#8220;&#8216;Yes, monseigneur, and here it is,&#8217; said a figure in the dark, who
+approached and then became distinguishable.</p>
+
+<p>&#8220;Henri thought he recognized the voice, and, advancing toward the
+individual, said, &#8216;Ah, is it you, Beaulieu? And what the devil do you do
+here?&#8217;</p>
+
+<p>&#8220;&#8216;Sire, I have been nominated governor of the fortress of Vincennes.&#8217;</p>
+
+<p>&#8220;&#8216;Well, my dear sir, your d&eacute;but does you honour; a king for a prisoner is
+no bad commencement.&#8217;</p>
+
+<p>&#8220;&#8216;Pardon me, Sire, but before I received you I had already received two
+gentlemen.&#8217;</p>
+
+<p>&#8220;&#8216;Who may they be? Ah! your pardon; perhaps I commit an indiscretion.&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_310" id="Page_310">[Pg 310]</a></span>&#8220;&#8216;Monseigneur, I have not been bound to secrecy. They are M. de la Mole
+and M. de Coconnas.&#8217;</p>
+
+<p>&#8220;&#8216;Poor gentlemen! And where are they?&#8217;</p>
+
+<p>&#8220;&#8216;High up, in the fourth floor.&#8217;</p>
+
+<p>&#8220;Henri gave a sigh. It was there he wished to be.</p>
+
+<p>&#8220;&#8216;Now, then, M. de Beaulieu,&#8217; said Henri, &#8216;have the kindness to show me my
+chamber. I am desirous of reaching it, as I am very much fatigued with my
+day&#8217;s toil.&#8217;</p>
+
+<p>&#8220;&#8216;Here, monseigneur,&#8217; said Beaulieu, showing Henri an open door.</p>
+
+<p>&#8220;&#8216;No. 2!&#8217; said Henri. &#8216;And why not No. 1?&#8217;</p>
+
+<p>&#8220;&#8216;Because it is reserved, monseigneur.&#8217;</p>
+
+<p>&#8220;&#8216;Ah! that is another thing,&#8217; said Henri, and he became even more pensive.</p>
+
+<p>&#8220;He wondered who was to occupy No. 1.</p>
+
+<p>&#8220;The governor, with a thousand apologies, installed Henri in his
+apartment, made many excuses for his deficiencies, and, placing two
+soldiers at the door, retired.</p>
+
+<p>&#8220;&#8216;Now,&#8217; said the governor, addressing the turnkey, &#8216;let us visit the
+others.&#8217;&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>The present aspect of St. Germain-en-Laye is hardly what it was in the
+days of which Dumas wrote in &#8220;Marguerite de Valois&#8221; or in &#8220;Vingt<span class="pagenum"><a name="Page_311" id="Page_311">[Pg 311]</a></span> Ans
+Apr&egrave;s.&#8221; Le Bois or Le For&ecirc;t looks to-day in parts, at least&mdash;much as it
+did in the days when royalty hunted its domain, and the glorious fa&ccedil;ade
+ch&acirc;teau has endured well.</p>
+
+<p>Beyond this, the romance and history have well-nigh evaporated into air.
+The whole neighbourhood is quite given over to a holiday, pleasure-making
+crowd, which, though it is typically French, and therefore interesting, is
+little in keeping with the splendid scenes of its past.</p>
+
+<p>To-day peasants from Brittany, heavily booted cavalry and artillery,
+<i>ouvriers</i>, children and nursemaids, and <i>touristes</i> of all nationalities
+throng the <i>all&eacute;es</i> of the forest and the corridors of the ch&acirc;teau, where
+once royalty and its retainers held forth.</p>
+
+<p>Vesinet, on the road from Paris to St. Germain,&mdash;just before one reaches
+Pecq, and the twentieth-century <i>chemin-de-fer</i> begins to climb that long,
+inclined viaduct, which crosses the Seine and rises ultimately to the
+platform on which sits the Vieux Ch&acirc;teau,&mdash;was a favourite hawking-ground
+of Charles IX. Indeed, it was here that that monarch was warned of &#8220;a
+fresh calumny against his poor Harry&#8221; (Henri de Navarre), as one reads in
+the pages of &#8220;Marguerite de Valois.&#8221;</p>
+
+<p>A further description follows of Charles&#8217; celebrated falcon, Bec de Fer,
+which is assuredly one<span class="pagenum"><a name="Page_312" id="Page_312">[Pg 312]</a></span> of the most extraordinary descriptions of a
+hunting-scene extant in the written page of romance.</p>
+
+<p>Much hunting took place in all of Dumas&#8217; romances, and the near-by forests
+of France, <i>i. e.</i>, near either to Paris or to the royal residences
+elsewhere, were the scenes of many gay meetings, where the stag, the boar,
+the <i>cerf</i>, and all manner of footed beasts and winged fowl were hunted in
+pure sport; though, after all, it is not recorded that it was as brutal a
+variety as the <i>battues</i> of the present day.</p>
+
+<p>St. Germain, its ch&acirc;teau and its <i>for&ecirc;t</i>, enters once and again, and
+again, into both the Valois series and the Mousquetaire romances. Of all
+the royal, suburban palaces, none have been more admired and loved for its
+splendid appointments and the splendid functions which have taken place
+there, than St. Germain.</p>
+
+<p>It had early come into favour as the residence of the French kings, the
+existing chapel being the foundation of St. Louis, while the Ch&acirc;teau Neuf
+was built mainly by Henri II. To-day but a solitary <i>pavillon</i>&mdash;that known
+as Henri IV.&mdash;remains, while the Vieux Ch&acirc;teau, as it was formerly known,
+is to-day acknowledged as <i>the</i> Ch&acirc;teau.</p>
+
+<p>The most significant incident laid here by Dumas, is that of the flight of
+Anne of Austria, Louis XIV., and the court, from Paris to the Ch&acirc;teau of
+St.<span class="pagenum"><a name="Page_313" id="Page_313">[Pg 313]</a></span> Germain. This plan was amplified, according to Dumas, and furthered
+by D&#8217;Artagnan and Athos; and since it is an acknowledged fact of history,
+this points once again to the worth of the historical romance from an
+exceedingly edifying view-point. At the time of the flight Louis was but a
+mere boy, and it may be recalled here that he was born at St. Germain in
+1638.</p>
+
+<p>The architectural glories of St. Germain are hardly so great as to warrant
+comparison with Versailles, to which Louis subsequently removed his court;
+indeed, the Ch&acirc;teau Neuf, with the exception of the <i>pavillon</i> before
+mentioned, is not even a dignified ruin, being but scattered piles of
+d&eacute;bris, which, since 1776, when the structure was razed, have been left
+lying about in most desultory fashion.</p>
+
+<p>The Vieux Ch&acirc;teau was made use of by the great Napoleon as a sort of a
+barracks, and again as a prison, but has since been restored according to
+the original plans of the architect Ducercen, who, under Fran&ccedil;ois I., was
+to have carried it to completion.</p>
+
+<p>Once St. Germain was the home of royalty and all the gaiety of the court
+life of the Louis, and once again it was on the eve of becoming the
+fashionable Paris suburb, but now it is the resort of &#8220;trippers,&#8221; and its
+ch&acirc;teau, or what was left of it<span class="pagenum"><a name="Page_314" id="Page_314">[Pg 314]</a></span> after the vandalism of the eighteenth
+century, is a sad ruin, though the view from its heights is as lovely as
+ever&mdash;that portion which remains being but an aggravation, when one
+recalls the glories that once were. Save the Vieux Ch&acirc;teau, all that is
+left is the lovely view. Paris-wards one sees a panorama&mdash;a veritable
+<i>vol-d&#8217;oiseaux</i>&mdash;of the slender, silvery loops of the Seine as it bends
+around Port Marly, Argenteuil, Courbevoie, St. Denis, and St. Cloud; while
+in the dimmest of the dim distance the Eiffel Tower looms all its ugliness
+up into the sky, and the domed heights of Montmartre and the Buttes
+Chaumont look really beautiful&mdash;which they do not on closer view.</p>
+
+<p>The height of St. Germain itself&mdash;the <i>ville</i> and the ch&acirc;teau&mdash;is not so
+very great, and it certainly is not giddy, which most of its frequenters,
+for one reason or another, are; but its miserable <i>pav&eacute;</i> is the curse of
+all automobilists, and the sinuous road which ascends from the Pont du
+Pecq is now &#8220;rushed,&#8221; up and down, by motor-cars, to the joy of the
+native, when one gets stalled, as they frequently do, and to the danger to
+life and limb of all other road-users and passers-by.</p>
+
+<hr style="width: 25%;" />
+
+<p>In all of the Valois cycle, &#8220;<i>la chasse</i>&#8221; plays an important part in the
+pleasure of the court and the <span class="pagenum"><a name="Page_315" id="Page_315">[Pg 315]</a></span>noblesse. The forests in the
+neighbourhood of Paris are numerous and noted.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_314.jpg" alt="" /></div>
+<p class="center"><span style="margin-left: -2em;"><small>FOR&Ecirc;T DE VILLERS-COTTERETS</small><span class="spacer2">&nbsp;</span>
+<small>BOIS DE VINCENNES</small><span class="spacer">&nbsp;</span><small>BOIS DE BOULOGNE</small></span></p>
+<p>&nbsp;</p>
+
+<p>At Villers-Cotterets, Dumas&#8217; birthplace, is the For&ecirc;t de
+Villers-Cotterets, a dependence of the Valois establishment at Cr&eacute;py.</p>
+
+<p>Bondy, Fontainebleau, St. Germain, Vincennes, and Rambouillet are all
+mentioned, and are too familiar to even casual travellers to warrant the
+inclusion of detailed description here.</p>
+
+<p>Next to Fontainebleau, whose present-day fame rests with the artists of
+the Barbizon school, who have perpetuated its rocks and trees, and St.
+Germain, which is mostly revered for the past splendour of its ch&acirc;teau,
+Rambouillet most frequently comes to mind.</p>
+
+<p>Even Republican France has its national hunt yearly, at Rambouillet, and
+visiting monarchs are invariably expected to partake in the shooting.</p>
+
+<p>Rambouillet, the <i>hameau</i> and the <i>for&ecirc;t</i>, was anciently under the feudal
+authority of the Comtes de Montford, afterward (1300) under Regnault
+d&#8217;Augennes, Capitaine du Louvre under Charles VI., and still later under
+Jacques d&#8217;Augennes, Capitaine du Ch&acirc;teau de Rambouillet in 1547. Louis
+XVI. purchased the ch&acirc;teau for one of his residences, and Napoleon III.,
+as well as his more illustrious namesake, was specially fond of hunting in
+its forests.</p>
+
+<p><span class="pagenum"><a name="Page_316" id="Page_316">[Pg 316]</a></span>Since 1870 the ch&acirc;teau
+and the forest have been under the domination of the state.</p>
+
+<p>There is a chapter in Dumas&#8217; &#8220;The Regent&#8217;s Daughter,&#8221; entitled &#8220;A Room in
+the Hotel at Rambouillet,&#8221; which gives some little detail respecting the
+town and the forest.</p>
+
+<p>There is no hotel in Rambouillet to-day known as the &#8220;Royal Tiger,&#8221; though
+there is a &#8220;Golden Lion.&#8221;</p>
+
+<p>&#8220;Ten minutes later the carriage stopped at the Tigre-Royal. A woman, who
+was waiting, came out hastily, and respectfully assisted the ladies to
+alight, and then guided them through the passages of the hotel, preceded
+by a valet carrying lights.</p>
+
+<p>&#8220;A door opened, Madame Desroches drew back to allow H&eacute;l&egrave;ne and Sister
+Th&ecirc;r&egrave;se to pass and they soon found themselves on a soft and easy sofa, in
+front of a bright fire.</p>
+
+<p>&#8220;The room was large and well furnished, but the taste was severe, for the
+style called rococo was not yet introduced. There were four doors; the
+first was that by which they had entered&mdash;the second led to the
+dining-room, which was already lighted and warmed&mdash;the third led into a
+richly appointed bedroom&mdash;the fourth did not open....</p>
+
+<p>&#8220;While the things which we have related were passing in the parlour of the
+H&ocirc;tel Tigre-Royal, in<span class="pagenum"><a name="Page_317" id="Page_317">[Pg 317]</a></span> another apartment of the same hotel, seated near a
+large fire, was a man shaking the snow from his boots, and untying the
+strings of a large portfolio. This man was dressed in the hunting livery
+of the house of Orleans; the coat red and silver, large boots, and a
+three-cornered hat, trimmed with silver. He had a quick eye, a long,
+pointed nose, a round and open forehead, which was contradicted by thin
+and compressed lips.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>Compi&egrave;gne, like Cr&eacute;py-en-Valois, Dammartin, Villers-Cotterets, and other
+of the towns and villages of the district, which in the fourteenth century
+belonged to the younger branch of the royal house, enter largely into the
+romances of Dumas, as was but natural, seeing that this region was the
+land of his birth.</p>
+
+<p>The most elaborate and purely descriptive parts are found in &#8220;The Wolf
+Leader,&#8221; wherein are presented so many pictures of the forest life of the
+region, and in &#8220;The Taking of the Bastille,&#8221; in that part which describes
+the journey of Ange Pitou to Paris.</p>
+
+<p>Cr&eacute;py, Compi&egrave;gne, Senlis, Pierrefonds, are still more celebrated in Dumas&#8217;
+writings for glorious and splendid achievements&mdash;as they are with respect
+to the actual fact of history, and the imposing<span class="pagenum"><a name="Page_318" id="Page_318">[Pg 318]</a></span> architectural monuments
+which still remain to illustrate the conditions under which life endured
+in medi&aelig;val times.</p>
+
+<p>At Cr&eacute;py, now a sleepy old-world village, is still seen the establishment
+of the Valois of which Dumas wrote; and another <i>grande maison</i> of the
+Valois was at Villers-Cotterets&mdash;a still more somnolent reminder of the
+past. At Compi&egrave;gne, only, with its magnificent H&ocirc;tel de Ville, does one
+find the activities of a modern-day life and energy.</p>
+
+<p>Here in strange juxtaposition with a remarkably interesting and
+picturesque church, and the dainty Renaissance H&ocirc;tel de Ville, with its
+<i>jacquemart</i>, its belfry, its pointed gable, and its ornate fa&ccedil;ade, is
+found a blend of past and present, which combines to produce one of those
+transformations or stage-settings which throughout France are so often met
+with and admired.</p>
+
+<p>No more charming <i>petite ville</i> exists in all France than Compi&egrave;gne, one
+of the most favoured of all the country residences of the Kings of France.</p>
+
+<p>The ch&acirc;teau seen to-day was an erection of Louis XV.</p>
+
+<p>Le For&ecirc;t de Compi&egrave;gne is as beautiful and unspoiled as any, and is,
+moreover, not overrun with tourists and trippers, as is Fontainebleau.</p>
+
+<p>&nbsp;</p>
+<div class="bbox" style="width: 550px; height: 336px;"><img src="images/fp_318.jpg" alt="" /></div>
+<p class="center">CH&Acirc;TEAU OF THE DUCS DE VALOIS, CR&Eacute;PY</p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_319" id="Page_319">[Pg 319]</a></span>Its area approximates 60,000 acres, and its circumference sixty miles.</p>
+
+<p>In short, the whole domain forms a charming and delightful place of
+retreat, which must have been duly appreciated during the troublous times
+of Louis&#8217; reign.</p>
+
+<p>It was here, in the For&ecirc;t de Compi&egrave;gne, that the great hunting was held,
+which is treated in &#8220;Chicot the Jester.&#8221;</p>
+
+<p>The Bois de Vincennes was a famous duelling-ground&mdash;and is to-day, <i>sub
+rosa</i>. It was here that Louis de Franchi, in the &#8220;Corsican Brothers,&#8221; who
+forewarned of his fate, died in the duel with Ren&eacute; de Chateaurien, just as
+he had predicted; at exactly &#8220;<i>neuf heures dix</i>.&#8221;</p>
+
+<p>This park is by no means the rival of the Bois de Boulogne in the
+affections of the Parisian public, but it is a wide expanse of
+tree-covered park land, and possesses all the characteristics of the other
+suburban <i>for&ecirc;ts</i> which surround Paris on all sides.</p>
+
+<p>It has, moreover, a ch&acirc;teau, a former retreat or country residence of the
+Kings of France, though to-day it has been made over to the ministry of
+war, whereas the Ch&acirc;teau de Madrid, the former possession of the Bois de
+Boulogne, has disappeared. The Ch&acirc;teau de Vincennes is not one of the
+sights of Paris. For a fact, it is quite inaccessible, being<span class="pagenum"><a name="Page_320" id="Page_320">[Pg 320]</a></span> surrounded
+by the ramparts of the Fort de Vincennes, and therefore forbidden to the
+inquisitive.</p>
+
+<p>It was here in the Ch&acirc;teau de Vincennes that Charles IX. died a lingering
+death, &#8220;by the poison prepared for another,&#8221; as Dumas has it in
+&#8220;Marguerite de Valois.&#8221;</p>
+
+<p>Among the many illustrious prisoners of the Ch&acirc;teau de Vincennes have been
+the King of Navarre (1574), Cond&eacute; (1650), Cardinal de Retz (1652), Fouquet
+(1661), Mirabeau (1777), the Duc d&#8217;Enghien (1804), and many others, most
+of whom have lived and breathed in Dumas&#8217; pages, in the same parts which
+they played in real life.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_321" id="Page_321">[Pg 321]</a></span></p>
+<h2><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII.</h2>
+<h3>THE FRENCH PROVINCES</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Dumas&#8217;</span> acquaintance with the French provinces was very comprehensive,
+though it is of the region northeast of Paris that he was most fond; of
+the beloved forest region around Cr&eacute;py and Villers-Cotterets; the road to
+Calais, and Picardie and Flanders. Dumas was ever fond of, and familiar
+with, the road from Paris to Calais. The National Route ran through Cr&eacute;py,
+and the byroad through his native Villers-Cotterets. In the &#8220;Vicomte de
+Bragelonne,&#8221; he calls the region &#8220;The Land of God,&#8221; a sentiment which
+mostly has not been endorsed by other writers; still, it is a beautiful
+country, and with its thickly wooded plantations, its industrious though
+conglomerate population, it is to-day&mdash;save for the Cantal and the
+Auvergne&mdash;that part of France of which English-speaking folk know the
+least. And this, too, on the direct road between London and Paris!</p>
+
+<p><span class="pagenum"><a name="Page_322" id="Page_322">[Pg 322]</a></span>Dumas, in the above-mentioned book, describes the journey through this
+region which was made by Buckingham and De Wardes.</p>
+
+<p>&#8220;Arriving at Calais, at the end of the sixth day, they chartered a boat
+for the purpose of joining the yacht that was to convey them to England,
+and which was then tacking about in full view.&#8221;</p>
+
+<p>The old port of Calais must have been made use of by the personages of
+whom Dumas wrote, who trafficked forth between England and France.</p>
+
+<p>Calais has ever been the most important terminus of cross-channel traffic,
+and there be those who know, who say that the boat service is not improved
+in comfort in all these ages, and certainly Calais, which most English
+travellers know only by fleeting glimpses, might with profit be visited
+more frequently, if only to follow in the wake of Sterne&#8217;s sentimental
+footsteps.</p>
+
+<p>The old port, of course, exists no more; new dykes, breakwaters, and the
+<i>gare maritime</i> have taken the place of the ancient landing-places, where
+royalties and others used to embark in frail sailing-vessels for the
+English ports across the channel.</p>
+
+<p>The old belfry still exists, and forms a beacon by day, at least, much as
+it did of yore. By night the new electric-light flashes its beams twenty
+odd miles across the channel on Dover Cliff, in a way<span class="pagenum"><a name="Page_323" id="Page_323">[Pg 323]</a></span> which would have
+astonished our forefathers in the days gone by.</p>
+
+<p>It was at Calais, too, that was enacted the final scene in the life of
+Mary Stuart in France.</p>
+
+<p>The misfortunes of Mary Stuart formed the subject of one of the series of
+&#8220;Les Crimes C&eacute;l&egrave;bres.&#8221; In the opening words of this chapter, Dumas has
+said, &#8220;Of all the names predestined to misfortune in France, it is the
+name of Henri. Henri I. was poisoned, Henri II. was killed (maliciously,
+so some one has said) in a tournament, Henri III. and Henri IV. were
+assassinated.&#8221; In Scotland it is the name of Stuart.</p>
+
+<p>The chronicle concerns France only with respect to the farewell of Mary,
+after having lost her mother and her spouse in the same year (1561). She
+journeyed to Scotland by Calais, accompanied by the Cardinals de Guise and
+de Lorraine, her uncles, by the Duc and Duchesse de Guise, the Duc
+d&#8217;Aumale, and M. de Nemours.</p>
+
+<p>Here took place that heartrending farewell, which poets and painters, as
+well as historians and novelists, have done so much to perpetuate. &#8220;Adieu,
+France!&#8221; she sobbed. &#8220;Adieu, France!&#8221; And for five hours she continued to
+weep and sob, &#8220;Adieu, France! Adieu, France!&#8221; For the rest, the well-known
+historical figures are made use of by <span class="pagenum"><a name="Page_324" id="Page_324">[Pg 324]</a></span>Dumas,&mdash;Darnley, Rizzio, Huntley,
+and Hamilton,&mdash;but the action does not, of course, return to France.</p>
+
+<p>Not far south of Calais is Arras, whence came the Robespierre who was to
+set France aflame.</p>
+
+<p>&#8220;The ancestors of the Robespierres,&#8221; says Dumas, &#8220;formed a part of those
+Irish colonists who came to France to inhabit our seminaries and
+monasteries. There they received from the Jesuits the good educations they
+were accustomed to give to their pupils. From father to son they were
+notaries; one branch of the family, that from which this great man
+descends, established himself at Arras, a great centre, as you know, of
+noblesse and the church.</p>
+
+<p>&#8220;There were in this town two <i>seigneurs</i>, or, rather, two kings; one was
+the Abb&eacute; of St. Waast, the other was the Bishop of Arras, whose palace
+threw one-half the town into shade.&#8221;</p>
+
+<p>The former palace of the Bishop of Arras is to-day the local <i>mus&eacute;e</i>. It
+is an extensive establishment, and it flanks an atrocious Renaissance
+cathedral of no appealing charm whatever, and, indeed, the one-time
+bishop&#8217;s palace does not look as though it was ever a very splendid
+establishment.</p>
+
+<p>Still farther to the southward of Calais is the feudal Castle of
+Pierrefonds, so beloved of Porthos in &#8220;Vingt Ans Apr&egrave;s.&#8221; It is, and has
+ever been since its erection in 1390 by Louis d&#8217;Orleans, the <span class="pagenum"><a name="Page_325" id="Page_325">[Pg 325]</a></span>brother of
+Charles VI., one of the most highly impregnable and luxurious ch&acirc;teaux of
+all France.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_324.jpg" alt="" /></div>
+<p class="center">CASTLE OF PIERREFONDS</p>
+<p>&nbsp;</p>
+
+<p>Four times it was unsuccessfully besieged, and came finally, in 1617, to
+be dismantled.</p>
+
+<p>The great Napoleon purchased it after the Revolution, and finally, through
+the liberality of Napoleon III.,&mdash;one of the few acts which redound to his
+credit,&mdash;it was restored, by Viollet-le-Duc, at a cost of over five
+million francs.</p>
+
+<p>In &#8220;Pauline,&#8221; that fragment which Dumas extracted from one of his
+&#8220;Impressions du Voyage,&#8221; the author comes down to modern times, and gives
+us, as he does in his journals of travel, his &#8220;M&eacute;moires,&#8221; and others of
+his lighter pieces of fiction, many charming pen-portraits of localities
+familiar not only to his pen, but to his personal experiences.</p>
+
+<p>He draws in &#8220;Pauline&#8221; a delightful picture of the old fishing-village of
+Trouville&mdash;before it became a resort of fashion. In his own words he
+describes it as follows:</p>
+
+<p>&#8220;I took the steamer from Havre, and two hours later was at Honfleur; the
+next morning I was at Trouville.&#8221;</p>
+
+<p>To-day the fly-by-day tourist does the whole journey in a couple of
+hours&mdash;if he does not linger over the attractions of &#8220;Les Petits Chevaux&#8221;
+or &#8220;Trente et Quarante,&#8221; at Honfleur&#8217;s pretty Casino.</p>
+
+<p><span class="pagenum"><a name="Page_326" id="Page_326">[Pg 326]</a></span>&#8220;You know the little town with its population of fisher-folk. It is one of
+the most picturesque in Normandy. I stayed there a few days, exploring the
+neighbourhood, and in the evening I used to sit in the chimney-corner with
+my worthy hostess, Madame Oseraie. There I heard strange tales of
+adventures which had been enacted in Calvados, Loiret, and La Manche.&#8221;</p>
+
+<p>Continuing, the author, evidently having become imbued with the local
+colour of the vicinity, describes, more or less superficially, perhaps,
+but still with vividness, if not minuteness, those treasure-chests of
+history, the towns and villages of Normandy:&mdash;Caen, Lisieux, Falaise, the
+cradle of the Conqueror William, &#8220;the fertile plains&#8221; around Pont Audemer,
+Havre, and Alen&ccedil;on.</p>
+
+<p>Normandy, too, was the <i>locale</i> of the early life of Gabriel Lambert, the
+unappealing leading-man of that dramatic story of a counterfeiter&#8217;s life,
+which bears the same title.</p>
+
+<p>Dumas&#8217; first acquaintance with the character in real life,&mdash;if he had any
+real personality, as one is inclined to think he had,&mdash;was at Toulon,
+where the unfortunate man was imprisoned and made to work in the galleys.</p>
+
+<p>In the course of the narrative the scene shifts from prisons, galleys, and
+chain-gangs, backward<span class="pagenum"><a name="Page_327" id="Page_327">[Pg 327]</a></span> and forward, until we get the whole gamut of the
+criminal&#8217;s life.</p>
+
+<p>Gabriel, in the days of his early life at Trouville, had acquired the art
+of skilled penmanship, and used it wherever he could for his own
+advantage, by fabricating the handwriting of others&mdash;and some honest work
+of a similar nature.</p>
+
+<p>Finally the call of Paris came strong upon him, and he set forth by Pont
+l&#8217;Ev&ecirc;que and Rouen to the metropolis, where his downfall was speedily
+consummated, to the sorrow and resentment of his old friends of the little
+Norman fishing-village, and more particularly to Marie Granger, his
+country sweetheart, who longed to follow him to Paris, not suspecting the
+actual turn affairs had taken.</p>
+
+<p>In &#8220;The Count of Monte Cristo,&#8221; Dumas again evinces his fondness for, and
+acquaintance with, the coast of Normandy.</p>
+
+<p>It is a brief reference, to be sure, but it shows that Dumas had some
+considerable liking for the sea, and a more or less minute knowledge of
+the coast of France. This is further evinced by the details into which he
+launches once and again, with reference to the littoral of the
+Mediterranean, Belle Ile, and its surroundings, and the coasts of
+Normandy, Brittany, and the Pas de Calais.</p>
+
+<p><span class="pagenum"><a name="Page_328" id="Page_328">[Pg 328]</a></span>In &#8220;The Count of Monte Cristo,&#8221; Dant&egrave;s says to his companion, Bertuccio:</p>
+
+<p>&#8220;&#8216;I am desirous of having an estate by the seaside in Normandy&mdash;for
+instance, between Havre and Boulogne. You see, I give you a wide range. It
+will be absolutely necessary that the place you may select have a small
+harbour, creek, or bay, into which my vessel can enter and remain at
+anchor. She merely draws fifteen feet water. She must be kept in constant
+readiness to sail immediately I think proper to give the signal. Make the
+requisite inquiries for a place of this description, and when you have met
+with an eligible spot, visit it, and if it possess the advantages desired,
+purchase it at once in your own name. The corvette must now, I think, be
+on her way to F&eacute;camp, must she not?&#8217;&#8221;</p>
+
+<p>With Brittany, Dumas is quite as familiar. In &#8220;Le Vicomte de Bragelonne,&#8221;
+he gives minute, though not wearisome, details of Belle Ile and the Breton
+coast around about. Aramis, it seems, had acquired Belle Ile, and had
+risen to high ecclesiastical rank, making his home thereon.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_328.jpg" alt="" /></div>
+<p class="center">N&Ocirc;TRE DAME DE CHARTRES</p>
+<p>&nbsp;</p>
+
+<p>Dumas&#8217; love and knowledge of gastronomy comes to the fore again here. When
+D&#8217;Artagnan undertook his famous journey to Belle Ile, on the coast of
+Brittany, as messenger of Louis XIV., whom he called his sun, after he had
+bought that <span class="pagenum"><a name="Page_329" id="Page_329">[Pg 329]</a></span>snuff-coloured <i>bidet</i> which would have disgraced a
+corporal, and after he had shortened his name to Agnan,&mdash;to complete his
+disguise,&mdash;he put in one night at La Roche-Bernard, &#8220;a tolerably important
+city at the mouth of the Vilaine, and prepared to sup at a hotel.&#8221; And he
+did sup; &#8220;off a teal and a <i>torteau</i>, and in order to wash down these two
+distinctive Breton dishes, ordered some cider, which, the moment it
+touched his lips, he perceived to be more Breton still.&#8221;</p>
+
+<p>On the route from Paris to the mouth of the Loire, where D&#8217;Artagnan
+departed for Belle Ile, is Chartres. Its Cathedral de N&ocirc;tre Dame has not
+often appeared in fiction. In history and books of travel, and of artistic
+and arch&aelig;ological interest, its past has been vigorously played.</p>
+
+<p>Dumas, in &#8220;La Dame de Monsoreau,&#8221; has revived the miraculous legend which
+tradition has preserved.</p>
+
+<p>It recounts a ceremony which many will consider ludicrous, and yet others
+sacrilegious. Dumas describes it thus:</p>
+
+<p>&#8220;The month of April had arrived. The great cathedral of Chartres was hung
+with white, and the king was standing barefooted in the nave. The
+religious ceremonies, which were for the purpose of praying for an heir to
+the throne of France,<span class="pagenum"><a name="Page_330" id="Page_330">[Pg 330]</a></span> were just finishing, when Henri, in the midst of
+the general silence, heard what seemed to him a stifled laugh. He turned
+around to see if Chicot were there, for he thought no one else would have
+dared to laugh at such a time. It was not, however, Chicot who had laughed
+at the sight of the two chemises of the Holy Virgin, which were said to
+have such a prolific power, and which were just being drawn from their
+golden box; but it was a cavalier who had just stopped at the door of the
+church, and who was making his way with his muddy boots through the crowd
+of courtiers in their penitents&#8217; robes and sacks. Seeing the king turn, he
+stopped for a moment, and Henri, irritated at seeing him arrive thus,
+threw an angry glance at him. The newcomer, however, continued to advance
+until he reached the velvet chair of M. le Duc d&#8217;Anjou, by which <ins class="correction" title="original: be">he</ins> knelt
+down.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>But a step from Chartres, on the Loire,&mdash;though Orleans, the &#8220;City of the
+Maid,&#8221; comes between,&mdash;is Blois.</p>
+
+<p>In &#8220;Le Vicomte de Bragelonne,&#8221; the last of the D&#8217;Artagnan series, the
+action comes down to later times, to that of the young king Louis XIV.</p>
+
+<p>In its opening lines its scene is laid in that wonderfully ornate and
+impressive Ch&acirc;teau of Blois,<span class="pagenum"><a name="Page_331" id="Page_331">[Pg 331]</a></span> which so many have used as a background for
+all manner of writing.</p>
+
+<p>Dumas, with his usual directness, wasting no words on mere description,
+and only considering it as an accessory to his romance, refers briefly to
+this magnificent building&mdash;the combined product of the houses whose arms
+bore the hedgehog and the salamander.</p>
+
+<p>&#8220;Toward the middle of the month of May, 1660, when the sun was fast
+absorbing the dew from the <i>ravenelles</i> of the Ch&acirc;teau of Blois, a little
+cavalcade entered the city by the bridge, without producing any effect
+upon the passengers of the quai-side, except a movement of the tongue to
+express, in the purest French then spoken in France (Touraine has ever
+spoken the purest tongue, as all know), &#8216;There is Monsieur returning from
+the hunt.&#8217;... It should have been a trifling source of pride to the city
+of Blois that Gaston of Orleans had chosen it as his residence, and held
+his court in the ancient ch&acirc;teau of its states.&#8221;</p>
+
+<p>It was in the Castle of the States of Blois that Louis XIV. received that
+unexpected visit from &#8220;His Majesty Charles II., King of England, Scotland,
+and Ireland,&#8221; of which Dumas writes in the second of the D&#8217;Artagnan
+series.</p>
+
+<p>&#8220;&#8216;How strange it is you are here,&#8217; said Louis.<span class="pagenum"><a name="Page_332" id="Page_332">[Pg 332]</a></span> &#8216;I only knew of your
+embarkation at Brighthelmstone, and your landing in Normandy.&#8217;...</p>
+
+<p>&#8220;Blois was peaceful that morning of the royal arrival, at which
+announcement it was suddenly filled with all the tumult and the buzzing of
+a swarm of bees. In the lower city, scarce a hundred paces from the
+castle, is a sufficiently handsome street called the Rue Vieille, and an
+old and venerable edifice which, tradition says, was habited by a
+councillor of state, to whom Queen Catherine came, some say to visit and
+others to strangle.&#8221;</p>
+
+<p>Not alone is Blois reminiscent of &#8220;Les Mousquetaires,&#8221; but the numberless
+references in the series to Langeais, Chambord,&mdash;the ch&acirc;teaux and their
+domains,&mdash;bring to mind more forcibly than by innuendo merely that Dumas
+himself must have had some great fondness for what has come to be the
+touring-ground of France <i>par excellence</i>.</p>
+
+<p>From &#8220;Le Vicomte de Bragelonne,&#8221; one quotes these few lines which,
+significantly, suggest much: &#8220;Do you not remember, Montalais, the woods of
+Chaverney, and of Chambord, and the numberless poplars of Blois?&#8221; This
+describes the country concisely, but explicitly.</p>
+
+<p>Beyond Blois, beyond even Tours, which is Blois&#8217; next neighbour, passing
+down the Loire, is Angers.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/fp_332.jpg" alt="" /></div>
+<p class="center">CASTLE OF ANGERS&mdash;CH&Acirc;TEAU OF BLOIS</p>
+<p>&nbsp;</p>
+
+<p>In &#8220;La Dame de Monsoreau,&#8221; more commonly<span class="pagenum"><a name="Page_333" id="Page_333">[Pg 333]</a></span> known in English translations
+as &#8220;Chicot the Jester,&#8221; much of the scene is laid in Anjou.</p>
+
+<p>To Angers, with its wonderful fairylike castle, with its seventeen
+black-banded towers (recalling, also, that this is the &#8220;Black Angers&#8221; of
+Shakespeare&#8217;s &#8220;King John&#8221;), repaired the Duc d&#8217;Anjou, the brother of
+Charles IX. and Henri III., who then reigned at Paris.</p>
+
+<p>To this &#8220;secret residence&#8221; the duc came. Dumas puts it thus:</p>
+
+<p>&#8220;&#8216;Gentlemen!&#8217; cried the duke, &#8216;I have come to throw myself into my good
+city of Angers. At Paris the most terrible dangers have menaced my
+life.&#8217;... The people then cried out, &#8216;Long live our seigneur!&#8217;&#8221;</p>
+
+<p>Bussy, who had made the way clear for the duc, lived, says Dumas, &#8220;in a
+tumble-down old house near the ramparts.&#8221; The ducal palace was actually
+outside the castle walls, but the frowning battlement was relied upon to
+shelter royalty when occasion required, the suite quartering themselves in
+the Gothic ch&acirc;teau, which is still to be seen in the d&eacute;bris-cluttered
+lumber-yard, to which the interior of the fortress has to-day descended.</p>
+
+<p>In other respects than the shocking care, or, rather, the lack of care,
+which is given to its interior, the Castle of Angers, with its battalion
+of <i>tours</i>,<span class="pagenum"><a name="Page_334" id="Page_334">[Pg 334]</a></span> now without their turrets, its deep, machicolated walls, and
+its now dry <i>fosse</i>, presents in every way an awe-inspiring stronghold.</p>
+
+<p>Beyond Angers, toward the sea, is Nantes, famous for the Edict, and, in
+&#8220;The Regent&#8217;s Daughter&#8221; of Dumas, the massacre of the four Breton
+conspirators.</p>
+
+<p>Gaston, the hero of the tale, had ridden posthaste from Paris to save his
+fellows. He was preceded, by two hours, by the order for their execution,
+and the reprieve which he held would be valueless did he arrive too late.</p>
+
+<p>&#8220;On reaching the gates of Nantes his horse stumbled, but Gaston did not
+lose his stirrups, pulled him up sharply, and, driving the spurs into his
+sides, he made him recover himself.</p>
+
+<p>&#8220;The night was dark, no one appeared upon the ramparts, the very sentinels
+were hidden in the gloom; it seemed like a deserted city.</p>
+
+<p>&#8220;But as he passed the gate a sentinel said something which Gaston did not
+even hear.</p>
+
+<p>&#8220;He held on his way.</p>
+
+<p>&#8220;At the Rue du Ch&acirc;teau his horse stumbled and fell, this time to rise no
+more.</p>
+
+<p>&#8220;What mattered it to Gaston now?&mdash;he had arrived....</p>
+
+<p>&#8220;He passed right through the castle, when he<span class="pagenum"><a name="Page_335" id="Page_335">[Pg 335]</a></span> perceived the esplanade, a
+scaffold, and a crowd. He tried to cry, but no one heard him; to wave his
+handkerchief, but no one saw him.... Another mounts the scaffold, and,
+uttering a cry, Gaston threw himself down below.... Four men died who
+might have been saved had Gaston but arrived five minutes before, and, by
+a remarkable contretemps, Gaston himself shared the same fate.&#8221;</p>
+
+<p>In &#8220;The Regent&#8217;s Daughter,&#8221; Dumas describes the journey to Nantes with
+great preciseness, though with no excess of detail. The third chapter
+opens thus:</p>
+
+<p>&#8220;Three nights after that on which we have seen the regent, first at
+Chelles, and then at Meudon, a scene passed in the environs of Nantes
+which cannot be omitted in this history; we will therefore exercise our
+privilege of transporting the reader to that place.</p>
+
+<p>&#8220;On the road to Clisson, two or three miles from Nantes,&mdash;near the convent
+known as the residence of Abelard,&mdash;was a large dark house, surrounded by
+thick, stunted trees; hedges everywhere surrounded the enclosure outside
+the walls, hedges impervious to the sight, and only interrupted by a
+wicket gate.</p>
+
+<p>&#8220;This gate led into a garden, at the end of which was a wall, having a
+small, massive, and closed <span class="pagenum"><a name="Page_336" id="Page_336">[Pg 336]</a></span>door. From a distance this grave and dismal
+residence appeared like a prison; it was, however, a convent, full of
+young Augustines, subject to a rule lenient as compared with provincial
+customs, but rigid as compared with those of Paris.</p>
+
+<p>&#8220;The house was inaccessible on three sides, but the fourth, which did not
+face the road, abutted on a large sheet of water; and ten feet above its
+surface were the windows of the refectory.</p>
+
+<p>&#8220;This little lake was carefully guarded, and was surrounded by high wooden
+palisades. A single iron gate opened into it, and at the same time gave a
+passage to the waters of a small rivulet which fed the lake, and the water
+had egress at the opposite end.&#8221;</p>
+
+<p>From this point on, the action of &#8220;The Regent&#8217;s Daughter&#8221; runs riotously
+rapid, until it finally culminates, so far as Nantes is concerned, in the
+quintuple execution before the ch&acirc;teau, brought about by the five minutes&#8217;
+delay of Gaston with the reprieve.</p>
+
+<hr style="width: 25%;" />
+
+<p>Dumas&#8217; knowledge of and love of the Mediterranean was great, and he knew
+its western shores intimately.</p>
+
+<p>In 1830 he resolved to visit all the shores of the<span class="pagenum"><a name="Page_337" id="Page_337">[Pg 337]</a></span> Mediterranean in a
+yacht, which he had had specially built for the purpose, called the
+<i>Emma</i>.</p>
+
+<p>He arrived in Sicily, however, at the moment of the Garibaldian struggle
+against the King of Italy, with the result that the heroic elements of
+that event so appealed to him, that he forewent the other more tranquil
+pleasure of continuing his voyage, and went over to the mainland.</p>
+
+<p>In &#8220;The Count of Monte Cristo&#8221; is given one of Dumas&#8217; best bits of
+descriptive writing. At any rate, it describes one of the aspects of the
+brilliantly blue Mediterranean, which is only comparable to one&#8217;s personal
+contemplation of its charms. It is apropos of the voyage to the island of
+Monte Cristo&mdash;which lies between Elba and Corsica, and has become fabled
+in the minds of present-day readers solely by Dumas&#8217; efforts&mdash;that he
+wrote the following:</p>
+
+<p>&#8220;It was about six o&#8217;clock in the evening; an opal-coloured light, through
+which an autumnal sun shed its golden rays, descended on the blue sea. The
+heat of the day had gradually decreased, and a light breeze arose, seeming
+like the respiration of nature on awakening from the burning siesta of the
+south; a delicious zephyr played along the coasts of the Mediterranean,
+and wafted from shore to shore the <span class="pagenum"><a name="Page_338" id="Page_338">[Pg 338]</a></span>sweet perfume of plants, mingled with
+the fresh smell of the sea.</p>
+
+<p>&#8220;A light yacht, chaste and elegant in its form, was gliding amidst the
+first dews of night over the immense lake, extending from Gibraltar to the
+Dardanelles, and from Tunis to Venice. The motion resembled that of a swan
+with its wings opened toward the wind, gliding on the water. It advanced,
+at the same time, swiftly and gracefully, leaving behind it a glittering
+track. By degrees the sun disappeared behind the western horizon; but, as
+though to prove the truth of the fanciful ideas in heathen mythology, its
+indiscreet rays reappeared on the summit of each wave, seeming to reveal
+that the god of fire had just enfolded himself in the bosom of Amphitrite,
+who in vain endeavoured to hide her lover beneath her azure mantle.&#8221;</p>
+
+<p>Of the island of Monte Cristo itself, Dumas&#8217; description is equally
+gratifying. In the earlier chapters he gives it thus:</p>
+
+<p>&#8220;The isle of Monte Cristo loomed large in the horizon.... They were just
+abreast of Mareciana, and beyond the flat but verdant isle of La Pianosa.
+The peak of Monte Cristo, reddened by the burning sun, was seen against
+the azure sky.... About five o&#8217;clock in the evening the island was quite
+distinct, and everything on it was plainly perceptible,<span class="pagenum"><a name="Page_339" id="Page_339">[Pg 339]</a></span> owing to that
+clearness of the atmosphere which is peculiar to the light which the rays
+of the sun cast at its setting.</p>
+
+<p>&#8220;Edmond gazed most earnestly at the mass of rocks which gave out all the
+variety of twilight colours, from the brightest pink to the deepest blue;
+and from time to time his cheeks flushed, his brow became purple, and a
+mist passed over his eyes.... In spite of his usual command over himself,
+Dant&egrave;s could not restrain his impetuosity. He was the first who jumped on
+shore; and had he dared, he would, like Lucius Brutus, have &#8216;kissed his
+mother earth.&#8217; It was dark, but at eleven o&#8217;clock the moon rose in the
+midst of the ocean, whose every wave she silvered, and then, &#8216;ascending
+high,&#8217; played in floods of pale light on the rocky hills of this second
+Pelion.</p>
+
+<p>&#8220;The island was familiar to the crew of <i>La Jeune Am&eacute;lie</i>&mdash;it was one of
+her halting-places. As to Dant&egrave;s, he had passed it on his voyages to and
+from the Levant, but never touched at it.&#8221;</p>
+
+<p>It is unquestionable that &#8220;The Count of Monte Cristo&#8221; is the most popular
+and the best known of all Dumas&#8217; works. There is a deal of action, of
+personality and characterization, and, above all, an ever-shifting
+panorama, which extends from the boulevards of Marseilles to the faubourgs
+of Paris, and from the island Ch&acirc;teau d&#8217;If to the equally<span class="pagenum"><a name="Page_340" id="Page_340">[Pg 340]</a></span> melancholy
+<i>all&eacute;es</i> of P&egrave;re la Chaise, which M. de Villefort, a true Parisian,
+considered alone worthy of receiving the remains of a Parisian family, as
+it was there only that they would be surrounded by worthy associates.</p>
+
+<p>All travellers for the East, <i>via</i> the Mediterranean, know well the
+ancient Ph&oelig;nician port of Marseilles. One does not need even the words
+of Dumas to recall its picturesqueness and importance&mdash;to-day as in ages
+past. Still, the opening lines of &#8220;The Count of Monte Cristo&#8221; do form a
+word-picture which few have equalled in the pages of romance; and there is
+not a word too much; nothing superfluous or extraneous.</p>
+
+<p>&#8220;On the 28th of February, 1815, the watchtower of Notre Dame de la Garde
+signalled the three-master, the <i>Pharaon</i>, from Smyrna, Trieste, and
+Naples.</p>
+
+<p>&#8220;As usual, a pilot put off immediately, and, rounding the Ch&acirc;teau d&#8217;If,
+got on board the vessel between Cape Morgion and the isle of Rion.</p>
+
+<p>&#8220;Immediately, and according to custom, the platform of Fort Saint-Jean was
+covered with lookers-on; it is always an event at Marseilles for a ship to
+come into port, especially when this ship, like the <i>Pharaon</i>, had been
+built, rigged, and laden<span class="pagenum"><a name="Page_341" id="Page_341">[Pg 341]</a></span> on the stocks of the old Phoc&eacute;e, and belonged to
+an owner of the city.</p>
+
+<p>&#8220;The ship drew on: it had safely passed the strait, which some volcanic
+shock has made between the isle of Calasareigne and the isle of Jaros; had
+doubled Pom&egrave;gue, and approached the harbour under topsails, jib, and
+foresail, but so slowly and sedately that the idlers, with that instinct
+which misfortune sends before it, asked one another what misfortune could
+have happened on board. However, those experienced in navigation saw
+plainly that, if any accident had occurred, it was not to the vessel
+herself, for she bore down with all the evidence of being skilfully
+handled, the anchor ready to be dropped, the bowsprit-shrouds loose, and,
+beside the pilot, who was steering the <i>Pharaon</i> by the narrow entrance of
+the port Marseilles, was a young man, who, with activity and vigilant eye,
+watched every motion of the ship, and repeated each direction of the
+pilot.</p>
+
+<p>&#8220;The vague disquietude which prevailed amongst the spectators had so much
+affected one of the crowd that he did not await the arrival of the vessel
+in harbour, but, jumping into a small skiff, desired to be pulled
+alongside the <i>Pharaon</i>, which he reached as she rounded the creek of La
+R&eacute;serve.&#8221;</p>
+
+<p>The process of coming into harbour at Marseilles<span class="pagenum"><a name="Page_342" id="Page_342">[Pg 342]</a></span> does not differ greatly
+to-day from the description given by Dumas.</p>
+
+<p>New harbour works have been constructed, and sailing-ships have mostly
+given way to great steamers, but the channel winds and twists as of old
+under the lofty brow, capped by the sailors&#8217; church of Notre Dame de la
+Garde, which is to-day a tawdry, bizarre shrine, as compared with the
+motive which inspired the devout to ascend its heights to pray for those
+who go down to the sea in ships.</p>
+
+<p>Marseilles, of all cities of France, more even than Bordeaux or Lyons, is
+possessed of that individuality which stands out strong on the background
+of France&mdash;the land and the nation.</p>
+
+<p>In the commercial world its importance gives it a high rank, and its
+<i>affaires</i> are regulated by no clues sent each morning by post or by
+telegraph from the world&#8217;s other marts of trade. It has, moreover, in the
+Canebi&egrave;re, one of the truly great streets of the world. Dumas remarked it,
+and so, too, have many others, who know its gay cosmopolitan aspect at all
+the hours of day and night.</p>
+
+<p>From &#8220;The Count of Monte Cristo,&#8221; the following lines describe it justly
+and truly, and in a way that fits it admirably, in spite of the fact that
+Dumas wrote of it as it was a hundred years ago:</p>
+
+<p>&#8220;The young sailor jumped into the skiff, and <span class="pagenum"><a name="Page_343" id="Page_343">[Pg 343]</a></span>sat down in the stern,
+desiring to be put ashore at the Canebi&egrave;re. The two rowers bent to their
+work, and the little boat glided away as rapidly as possible in the midst
+of the thousand vessels which choke up the narrow way which leads between
+the two rows of ships from the mouth of the harbour to the Quai d&#8217;Orl&eacute;ans.</p>
+
+<p>&#8220;The ship-owner, smiling, followed him with his eyes until he saw him
+spring out on the quai and disappear in the midst of the throng, which,
+from five o&#8217;clock in the morning until nine o&#8217;clock at night, choke up
+this famous street of La Canebi&egrave;re, of which the modern Phoc&eacute;ens are so
+proud, and say, with all the gravity in the world, and with that accent
+which gives so much character to what is said, &#8216;If Paris had La Canebi&egrave;re,
+Paris would be a second Marseilles.&#8217;&#8221;</p>
+
+<p>The Ch&acirc;teau d&#8217;If, far more than the island of Monte Cristo itself, is the
+<i>locale</i> which is mostly recalled with regard to the romance of &#8220;Monte
+Cristo.&#8221;</p>
+
+<p>Dumas has, of course, made melodramatic use of it; in fact, it seems
+almost as if he had built the romance around its own restricted <i>pied &agrave;
+terre</i>, but, nevertheless, it is the one element which we are pleased to
+call up as representative of the story when mention is made thereof.</p>
+
+<p><span class="pagenum"><a name="Page_344" id="Page_344">[Pg 344]</a></span>Not a line, not a word, is misplaced in the chapters in which Dumas treats
+of Dant&egrave;s&#8217; incarceration in his island prison. Description does not crowd
+upon action or characterization, nor the reverse.</p>
+
+<p>&#8220;Through the grating of the window of the carriage, Dant&egrave;s saw they were
+passing through the Rue Caisserie, and by the Quai St. Laurent and the Rue
+Taramis, to the port. They advanced toward a boat which a custom-house
+officer held by a chain near the quai. A shove sent the boat adrift, and
+the oarsman plied it rapidly toward the Pilon. At a shout the chain that
+closes the port was lowered, and in a second they were outside the
+harbour.... They had passed the T&ecirc;te de More, and were now in front of the
+lighthouse and about to double the battery.... They had left the isle
+Ratonneau, where the lighthouse stood, on the right, and were now opposite
+the Point des Catalans.</p>
+
+<p>&#8220;&#8216;Tell me where you are conducting me?&#8217; asked Dant&egrave;s of his guard.</p>
+
+<p>&#8220;&#8216;You are a native of Marseilles, and a sailor, and yet you do not know
+where you are going?&#8217;</p>
+
+<p>&#8220;&#8216;On my honour, I have no idea.&#8217;</p>
+
+<p>&#8220;&#8216;That is impossible.&#8217;</p>
+
+<p>&#8220;&#8216;I swear to you it is true. Tell me, I entreat.&#8217;</p>
+
+<p>&#8220;&#8216;But my orders.&#8217;</p>
+
+<p>&#8220;&#8216;Your orders do not forbid your telling me<span class="pagenum"><a name="Page_345" id="Page_345">[Pg 345]</a></span> what I must know in ten
+minutes, in half an hour, or an hour. You see, I cannot escape, even if I
+intended.&#8217;</p>
+
+<p>&#8220;&#8216;Unless you are blind, or have never been outside the harbour, you must
+know.&#8217;</p>
+
+<p>&#8220;&#8216;I do not.&#8217;</p>
+
+<p>&#8220;&#8216;Look around you, then.&#8217; Dant&egrave;s rose and looked forward, when he saw rise
+within a hundred yards of him the black and frowning rock on which stands
+the Ch&acirc;teau d&#8217;If. This gloomy fortress, which has for more than three
+hundred years furnished food for so many wild legends, seemed to Dant&egrave;s
+like a scaffold to a malefactor.</p>
+
+<p>&#8220;&#8216;The Ch&acirc;teau d&#8217;If?&#8217; cried he. &#8216;What are we going there for?&#8217; The gendarme
+smiled.</p>
+
+<p>&#8220;&#8216;I am not going there to be imprisoned,&#8217; said Dant&egrave;s; &#8216;it is only used
+for political prisoners. I have committed no crime. Are there any
+magistrates or judges at the Ch&acirc;teau d&#8217;If?&#8217;</p>
+
+<p>&#8220;&#8216;There are only,&#8217; said the gendarme, &#8216;a governor, a garrison, turnkeys,
+and good thick walls. Come, come, do not look so astonished, or you will
+make me think you are laughing at me in return for my good nature.&#8217; Dant&egrave;s
+pressed the gendarme&#8217;s hand as though he would crush it.</p>
+
+<p>&#8220;&#8216;You think, then,&#8217; said he, &#8216;that I am conducted to the ch&acirc;teau to be
+imprisoned there?&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_346" id="Page_346">[Pg 346]</a></span>&#8220;&#8216;It is probable.&#8217;&#8221;</p>
+
+<p>The details of Dant&egrave;s&#8217; horrible confinement, at first in an upper cell,
+and later in a lower dungeon, where, as &#8220;No. 34,&#8221; he became the neighbour
+of the old Abb&eacute; Faria, &#8220;No. 27,&#8221; are well known of all lovers of Dumas.
+The author does not weary one, and there are no lengthy descriptions
+dragged in to merely fill space. When Dant&egrave;s finally escapes from the
+ch&acirc;teau, after he had been imprisoned for fourteen years, Dumas again
+launches into that concise, direct word-painting which proclaims him the
+master.</p>
+
+<p>&#8220;It was necessary for Dant&egrave;s to strike out to sea. Ratonneau and Pom&egrave;gue
+are the nearest isles of all those that surround the Ch&acirc;teau d&#8217;If; but
+Ratonneau and Pom&egrave;gue are inhabited, together with the islet of Daume;
+Tiboulen or Lemaire were the most secure. The isles of Tiboulen and
+Lemaire are a league from the Ch&acirc;teau d&#8217;If....</p>
+
+<p>&#8220;Before him rose a mass of strangely formed rocks, that resembled nothing
+so much as a vast fire petrified at the moment of its most fervent
+combustion. It was the isle of Tiboulen....</p>
+
+<p>&#8220;As he rose, a flash of lightning, that seemed as if the whole of the
+heavens were opened, illumined the darkness. By its light, he saw the isle
+of<span class="pagenum"><a name="Page_347" id="Page_347">[Pg 347]</a></span> Lemaire and Cape Croiselle, a quarter of a league distant.&#8221;</p>
+
+<p>In &#8220;The Count of Monte Cristo,&#8221; Dumas makes a little journey up the valley
+of the Rh&ocirc;ne into Provence.</p>
+
+<p>In the chapter entitled &#8220;The Auberge of the Pont du Gard,&#8221; he writes, in
+manner unmistakably familiar, of this land of the troubadours, the roses,
+and the beautiful women; for the women of Arles&mdash;those world-famous
+Arlesiennes&mdash;are the peers, in looks, of all the women of France.</p>
+
+<p>Dumas writes of Beaucaire, of Bellegarde, of Arles, and of Aigues-Mortes,
+but not very affectionately; indeed, he seems to think all Provence &#8220;an
+arid, sterile lake,&#8221; but he comes out strong on the beauty of the women of
+Arles, and marvels how they can live in the vicinity of the devastating
+fevers of the Camargue.</p>
+
+<p>The auberge of the Pont du Garde itself&mdash;the establishment kept by the old
+tailor, Caderousse, whom Dant&egrave;s sought out after his escape from the
+Ch&acirc;teau d&#8217;If&mdash;the author describes thus:</p>
+
+<p>&#8220;Such of my readers as have made a pedestrian excursion to the south of
+France may perchance have noticed, midway between the town of Beaucaire
+and the village of Bellegarde, a small roadside inn, from the front of
+which hung, creaking and <span class="pagenum"><a name="Page_348" id="Page_348">[Pg 348]</a></span>flapping in the wind, a sheet of tin covered
+with a caricature resemblance of the Pont du Gard. This modern place of
+entertainment stood on the left-hand side of the grand route, turning its
+back upon the Rh&ocirc;ne. It also boasted of what in Languedoc is styled a
+garden, consisting of a small plot of ground, a full view of which might
+be obtained from a door immediately opposite the grand portal by which
+travellers were ushered in to partake of the hospitality of mine host of
+the Pont du Gard. This plaisance or garden, scorched up beneath the ardent
+sun of a latitude of thirty degrees, permitted nothing to thrive or
+scarcely live in its arid soil. A few dingy olives and stunted fig-trees
+struggled hard for existence, but their withered, dusty foliage abundantly
+proved how unequal was the conflict. Between these sickly shrubs grew a
+scanty supply of garlic, tomatoes, and eschalots; while, lone and
+solitary, like a forgotten sentinel, a tall pine raised its melancholy
+head in one of the corners of this unattractive spot, and displayed its
+flexible stem and fan-shaped summit dried and cracked by the withering
+influence of the mistral, that scourge of Provence.&#8221;</p>
+
+<p>The great fair of Beaucaire was, and is,&mdash;though Beaucaire has become a
+decrepit, tumble-down river<span class="pagenum"><a name="Page_349" id="Page_349">[Pg 349]</a></span> town on the Rh&ocirc;ne, with a ruined castle as
+its chief attraction,&mdash;renowned throughout France.</p>
+
+<p>It was here that the head of the house of Morrel, fearing lest the report
+of his financial distress should get bruited abroad at Marseilles, came to
+sell his wife&#8217;s and daughter&#8217;s jewels, and a portion of his plate.</p>
+
+<p>This fair of Beaucaire attracted a great number of merchants of all
+branches of trade, who arrived by water and by road, lining the banks of
+the Rh&ocirc;ne from Arles to Beaucaire, and its transpontine neighbour,
+Tarascon, which Daudet has made famous.</p>
+
+<p>Caderousse, the innkeeper, visited this fair, as we learn, &#8220;in company
+with a man who was evidently a stranger to the south of France; one of
+those merchants who come to sell jewelry at the fair of Beaucaire, and
+who, during the month the fair lasts, and during which there is so great
+an influx of merchants and customers from all parts of Europe, often have
+dealings to the amount of one hundred thousand to one hundred and fifty
+thousand francs (&pound;4,000 to &pound;6,000).&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>That Dumas was a great traveller is well known and substantiated by the
+records he has left.</p>
+
+<p>When living at Toulon in the spring of 1835, as he himself tells us, he
+first came into possession of<span class="pagenum"><a name="Page_350" id="Page_350">[Pg 350]</a></span> the facts which led to the construction of
+&#8220;Gabriel Lambert.&#8221;</p>
+
+<p>There was doubtless much of truth in the tale, which appears not to be
+generally known to English readers, and it is more than probable that much
+of the incident was originally related to Dumas by the &#8220;governor of the
+port.&#8221;</p>
+
+<p>Dumas was living at the time in a &#8220;small suburban house,&#8221; within a stone&#8217;s
+throw of Fort Lamalge, the prison, hard at work on his play of &#8220;Captain
+Paul&#8221;&mdash;though, as he says, he was greatly abstracted from work by the
+&#8220;contemplation of the blue Mediterranean spangled with gold, the mountains
+that blind in their awful nakedness, and of the sky impressive in its
+depth and clearness.&#8221;</p>
+
+<p>The result of it all was that, instead of working at &#8220;Captain Paul&#8221; (Paul
+Jones), he left off working at all, in the daytime,&mdash;no infrequent
+occurrence among authors,&mdash;and, through his acquaintance with the
+governor, evolved the story of the life-history of &#8220;Gabriel Lambert.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>&#8220;Murat&#8221; was the single-worded title given by Dumas to what is perhaps the
+most subtle of the &#8220;Crimes C&eacute;l&egrave;bres.&#8221; He drew his figures, of course, from
+history, and from a comparatively near <span class="pagenum"><a name="Page_351" id="Page_351">[Pg 351]</a></span>view-point, considering that but
+twenty-five years had elapsed since the death of his subject.</p>
+
+<p>Marseilles, Provence, Hy&egrave;res, Toulon, and others of those charming towns
+and cities of the Mediterranean shore, including also Corsica, form the
+rapid itinerary of the first pages.</p>
+
+<p>For the action itself, it resembles nothing which has gone before, or
+which is so very horrible. It simply recounts the adventures and incidents
+in the life of the Marshal of France which befel his later years, and
+which culminated in his decapitated head being brought before the King of
+Naples as the only assurance which would satisfy him that Murat was not an
+adventurer and intriguer.</p>
+
+<p>There is a pleasant little town in the Midi of France by the name of
+Cahors. It is a historic town as well; in fact, it was part of the dowry
+which Henri de Navarre was to receive when he married Marguerite.</p>
+
+<p>The circumstance is recounted by Dumas in &#8220;The Forty-Five Guardsmen,&#8221; and
+extends to some length in the most marvellously descriptive dialogue.</p>
+
+<p>&#8220;The poor Henri de Navarre,&#8221; as Dumas called him, &#8220;was to receive as his
+wife&#8217;s dowry three hundred thousand golden crowns and some towns, among
+them Cahors.</p>
+
+<p>&#8220;&#8216;A pretty town, <i>mordieu</i>!&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_352" id="Page_352">[Pg 352]</a></span>&#8220;&#8216;I have claimed not the money, but Cahors.&#8217;</p>
+
+<p>&#8220;&#8216;You would much like to hold Cahors, Sire?&#8217;</p>
+
+<p>&#8220;&#8216;Doubtless; for, after all, what is my principality of B&eacute;arn? A poor
+little place, clipped by the avarice of my mother-in-law and
+brother-in-law.&#8217;</p>
+
+<p>&#8220;&#8216;While Cahors&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Cahors would be my rampart, the safeguard of my religion.&#8217;</p>
+
+<p>&#8220;&#8216;Well, Sire, go into mourning for Cahors; for, whether you break with
+Madame Marguerite or not, the King of France will never give it to you,
+and unless you take it&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Oh, I would soon take it, if it was not so strong, and, above all, if I
+did not hate war.&#8217;</p>
+
+<p>&#8220;&#8216;Cahors is impregnable, Sire.&#8217;</p>
+
+<p>&#8220;&#8216;Oh! impregnable! But if I had an army, which I have not&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Listen, Sire. We are not here to flatter each other. To take Cahors,
+which is held by M. de Vezin, one must be a Hannibal or a C&aelig;sar; and your
+Majesty&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Well?&#8217; said Henri, with a smile.</p>
+
+<p>&#8220;&#8216;Has just said you do not like war.&#8217;...</p>
+
+<p>&#8220;&#8216;Cahors is so well guarded, because it is the key of the south.&#8217;&#8221;</p>
+
+<p>Chapter fifty-three of the above book recounts the siege itself,&mdash;as we
+know it in history,&mdash;but<span class="pagenum"><a name="Page_353" id="Page_353">[Pg 353]</a></span> with all that added picturesqueness which Dumas
+commanded.</p>
+
+<p>&#8220;&#8216;Henri will not pay me his sister&#8217;s dowry, and Margot cries out for her
+dear Cahors. One must do what one&#8217;s wife wants, for peace&#8217;s sake;
+therefore I am going to try to take Cahors.&#8217;...</p>
+
+<p>&#8220;Henri set off at full gallop, and Chicot followed him. On arriving in
+front of his little army, Henri raised his visor, and cried:</p>
+
+<p>&#8220;&#8216;Out with the banner! out with the new banner!&#8217;</p>
+
+<p>&#8220;They drew forth the banner, which had the double scutcheon of Navarre and
+Bourbon; it was white, and had chains of gold on one side, and
+<i>fleurs-de-lis</i> on the other.</p>
+
+<p>&#8220;Again the cannon from Cahors were fired, and the balls tore through a
+file of infantry near the king....</p>
+
+<p>&#8220;&#8216;Oh!&#8217; cried M. de Turenne, &#8216;the siege of the city is over, Vezin.&#8217; And as
+he spoke he fired at him and wounded him in the arm....</p>
+
+<p>&#8220;&#8216;You are wrong, Turenne,&#8217; cried M. de Vezin; &#8216;there are twenty sieges in
+Cahors; so, if one is over, there are nineteen to come.&#8217;</p>
+
+<p>&#8220;M. de Vezin defended himself during five days and nights from street to
+street and from house to house. Luckily for the rising fortunes of Henri
+of <span class="pagenum"><a name="Page_354" id="Page_354">[Pg 354]</a></span>Navarre, he had counted too much on the walls and garrison of Cahors,
+and had neglected to send to M. de Biron....</p>
+
+<p>&#8220;During these five days and nights, Henri commanded like a captain and
+fought like a soldier, slept with his head on a stone, and awoke sword in
+hand. Each day they conquered a street or a square, which each night the
+garrison tried to retake. On the fourth night the enemy seemed willing to
+give some rest to the Protestant army. Then it was Henri who attacked in
+his turn. He forced an intrenched position, but it cost him seven hundred
+men. M. de Turenne and nearly all the officers were wounded, but the king
+remained untouched.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>The Pyrenean city of Pau is more than once referred to by Dumas in the
+Valois romances, as was but natural, considering that its ancient ch&acirc;teau
+was the <i>berceau</i> of that Prince of B&eacute;arn who later married the intriguing
+Marguerite, and became ultimately Henri IV.</p>
+
+<p>This fine old structure&mdash;almost the only really splendid historical
+monument of the city&mdash;had for long been the residence of the Kings of
+Navarre; was rebuilt in the fourteenth century by the brilliant Gaston
+Ph&oelig;bus; and enlarged and luxuriously embellished by the beautiful
+Marguerite herself in the<span class="pagenum"><a name="Page_355" id="Page_355">[Pg 355]</a></span> sixteenth century, after she had become <i>la
+femme de Henri d&#8217;Albert</i>, as her spouse was then known.</p>
+
+<p>As might be expected, Dumas was exceedingly familiar with the suburban
+topography of Paris, and made frequent use of it in his novels.</p>
+
+<p>It is in &#8220;The Count of Monte Cristo,&#8221; however, that this intimacy is best
+shown; possibly for the reason that therein he dealt with times less
+remote than those of the court romances of the &#8220;Valois&#8221; and the &#8220;Capets.&#8221;</p>
+
+<p>When Dant&egrave;s comes to Paris,&mdash;as the newly made count,&mdash;he forthwith
+desires to be ensconced in an establishment of his own. Dumas recounts the
+incident thus:</p>
+
+<p>&#8220;&#8216;And the cards I ordered to be engraved as soon as you knew the number of
+the house?&#8217;</p>
+
+<p>&#8220;&#8216;M. le Comte, it is done already. I have been myself to the best engraver
+of the Palais Royal, who did the plate in my presence. The first card
+struck off was taken, according to your orders, to M. le Baron Danglars,
+Rue de la Chauss&eacute;e d&#8217;Antin, No. 7.&#8217;...</p>
+
+<p>&#8220;As the steward had said, the notary awaited him in the small salon. He
+was a simple-looking lawyer&#8217;s clerk, elevated to the extraordinary dignity
+of a provincial scrivener.</p>
+
+<p>&#8220;&#8216;You are the notary empowered to sell the<span class="pagenum"><a name="Page_356" id="Page_356">[Pg 356]</a></span> country-house that I wish to
+purchase, monsieur?&#8217; asked Monte Cristo.</p>
+
+<p>&#8220;&#8216;Yes, M. le Comte,&#8217; returned the notary.</p>
+
+<p>&#8220;&#8216;Is the deed of sale ready?&#8217;</p>
+
+<p>&#8220;&#8216;Yes, M. le Comte.&#8217;</p>
+
+<p>&#8220;&#8216;Have you brought it?&#8217;</p>
+
+<p>&#8220;&#8216;Here it is.&#8217;</p>
+
+<p>&#8220;&#8216;Very well; and where is this house that I purchase?&#8217; asked the count,
+carelessly, addressing himself half to Bertuccio, half to the notary. The
+steward made a gesture that signified, &#8216;I do not know.&#8217; The notary looked
+at the count with astonishment.</p>
+
+<p>&#8220;&#8216;What!&#8217; said he, &#8216;does not M. le Comte know where the house he purchases
+is situated?&#8217;</p>
+
+<p>&#8220;&#8216;No,&#8217; returned the count.</p>
+
+<p>&#8220;&#8216;M. le Comte does not know it?&#8217;</p>
+
+<p>&#8220;&#8216;How should I know it? I have arrived from Cadiz this morning. I have
+never before been at Paris: and it is the first time I have ever even set
+my foot in France!&#8217;</p>
+
+<p>&#8220;&#8216;Ah, that is different; the house you purchase is situated at Auteuil, in
+the Rue de la Fontaine, No. 28.&#8217; At these words Bertuccio turned pale.</p>
+
+<p>&#8220;&#8216;And where is Auteuil?&#8217; asked the count.</p>
+
+<p>&#8220;&#8216;Close here, monsieur,&#8217; replied the notary; &#8216;a<span class="pagenum"><a name="Page_357" id="Page_357">[Pg 357]</a></span> little beyond Passy; a
+charming situation, in the heart of the Bois de Boulogne.&#8217;</p>
+
+<p>&#8220;&#8216;So near as that?&#8217; said the count. &#8216;But that is not in the country. What
+made you choose a house at the gates of Paris, M. Bertuccio?&#8217;</p>
+
+<p>&#8220;&#8216;I?&#8217; cried the steward, with a strange expression. &#8216;M. le Comte did not
+charge me to purchase this house. If M. le Comte will recollect&mdash;if he
+will think&mdash;&#8217;</p>
+
+<p>&#8220;&#8216;Ah, true,&#8217; observed Monte Cristo; &#8216;I recollect now. I read the
+advertisement in one of the papers, and was tempted by the false title, &#8220;a
+country-house.&#8221;&#8217;</p>
+
+<p>&#8220;&#8216;It is not yet too late,&#8217; cried Bertuccio, eagerly; &#8216;and if your
+Excellency will entrust me with the commission, I will find you a better
+at Enghien, at Fontenay-aux-Roses, or at Bellevue.&#8217;</p>
+
+<p>&#8220;&#8216;Oh, no,&#8217; returned Monte Cristo, negligently; &#8216;since I have this, I will
+keep it.&#8217;</p>
+
+<p>&#8220;&#8216;And you are quite right,&#8217; said the notary, who feared to lose his fee.
+&#8216;It is a charming place, well supplied with spring-water and fine trees; a
+comfortable habitation, although abandoned for a long time; without
+reckoning the furniture, which, although old, is yet valuable, now that
+old things are so much sought after. I suppose M. le Comte has the tastes
+of the day?&#8217;&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_358" id="Page_358">[Pg 358]</a></span>Whatever may have been Dumas&#8217; prodigality with regard to money matters in
+his personal affairs, he was evidently a good traveller, in the sense that
+he knew how to plan a journey with the greatest economy.</p>
+
+<p>One sees evidences of this in the &#8220;Count of Monte Cristo,&#8221; where he
+describes the journey of Madame de Morcerf from Paris to Marseilles.</p>
+
+<p>&#8220;&#8216;I have made inquiries,&#8217; said Albert, &#8216;respecting the diligences and
+steamboats, and my calculations are made. You will take your place in the
+coup&eacute; to Ch&acirc;lons. You see, mother, I treat you handsomely for thirty-five
+francs.&#8217;</p>
+
+<p>&#8220;Albert then took a pen, and wrote:</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&nbsp;</td><td align="right"><i>Frs.</i></td></tr>
+<tr><td>Coup&eacute; to Ch&acirc;lons, thirty-five francs</td><td align="right">35</td></tr>
+<tr><td>From Ch&acirc;lons to Lyons you will go on by the steamboat&mdash;six francs</td><td align="right">6</td></tr>
+<tr><td>From Lyons to Avignon (still by steamboat), sixteen francs</td><td align="right">16</td></tr>
+<tr><td>From Avignon to Marseilles, seven francs</td><td align="right">7</td></tr>
+<tr><td>Expenses on the road, about fifty francs</td><td class="botbor" align="right">50</td></tr>
+<tr><td align="right">Total</td><td align="right">114</td></tr></table>
+
+<p>&#8220;&#8216;Let us put down 120,&#8217; added Albert, smiling. &#8216;You see I am generous; am
+I not, mother?&#8217;</p>
+
+<p>&#8220;&#8216;But you, my poor child?&#8217;</p>
+
+<p><span class="pagenum"><a name="Page_359" id="Page_359">[Pg 359]</a></span>&#8220;&#8216;I! do you not see I reserve eighty francs for myself? A young man does
+not require luxuries; besides, I know what travelling is.&#8217;</p>
+
+<p>&#8220;&#8216;With a post-chaise and <i>valet de chambre</i>?&#8217;&#8221;</p>
+
+<p>The route is practicable even to-day, though probably not at the prices
+given, and one does not go by steamboat from Ch&acirc;lons to Lyons, though he
+may from Lyons to Avignon.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_360" id="Page_360">[Pg 360]</a></span></p>
+<h2><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII.</h2>
+<h3>LES PAYS &Eacute;TRANGERS</h3>
+
+<p>&nbsp;</p>
+<p class="dropcap"><span class="caps">Dumas</span> frequently wandered afield for his <i>mise-en-sc&egrave;ne</i>, and with varying
+success; from the &#8220;Corsican Brothers,&#8221; which was remarkably true to its
+<i>locale</i>, and &#8220;La Tulipe Noire,&#8221; which was equally so, if we allow for a
+certain perspective of time, to &#8220;Le Capitaine Pamphile,&#8221; which in parts,
+at least, is gross exaggeration or burlesque.</p>
+
+<p>Once only, to any great extent, did he go to Germany for his inspirations,
+and then only to German legend,&mdash;where so many others had been
+before,&mdash;and have since.</p>
+
+<p>In &#8220;Otho the Archer&#8221; is found a repetition of the Knight and Swan legend
+so familiar to all. It has been before&mdash;and since&mdash;a prolific source of
+supply to authors of all ranks and nationalities: Goethe, Schiller,
+Hoffman, Brentano, Fouqu&eacute;, Scott, and others.</p>
+
+<p>The book first appeared in 1840, before even<span class="pagenum"><a name="Page_361" id="Page_361">[Pg 361]</a></span> &#8220;Monte Cristo&#8221; and &#8220;Les
+Trois Mousquetaires&#8221; were published as <i>feuilletons</i>, and hence, whatever
+its merits may be, it is to be classed as one of his immature efforts,
+rather than as a piece of profound romancing.</p>
+
+<p>The story of adventure, of battle, and of love-making is all there, but
+his picture of the scenery and life of the middle ages on the Rhine are,
+of course, as purely imaginary as is the romantic background of myth and
+legend.</p>
+
+<p>Of all the works dealing with foreign lands,&mdash;or, at least, foreign to his
+pen,&mdash;Dumas&#8217; &#8220;Black Tulip&#8221; will ever take a pre&euml;minent rank. Therein are
+pictures of Holland life and of the Hollandaise which, like the
+pen-drawings of Stevenson in &#8220;Catriona,&#8221; will live far more vividly in the
+minds of most readers than volumes of mere dissertation written by others.</p>
+
+<p>The story opens with a recounting of the tragedy of the brothers Cornelius
+and Jacobus de Windt, which, though not differing greatly from historical
+fact, is as vivid and terrible an account of the persecutions of mortal
+man as any similar incident in romance itself, of whatever age and by
+whomever written.</p>
+
+<p>Dumas was in Amsterdam, in 1849, at the coronation of William III., where
+it has been <span class="pagenum"><a name="Page_362" id="Page_362">[Pg 362]</a></span>said&mdash;by Flotow, the composer&mdash;that the king remarked to
+Dumas that none of the scenes of his romances had as yet been laid in the
+Netherlands, and thereupon told him what was substantially the story of
+&#8220;La Tulipe Noire.&#8221; This first appeared as the product of Dumas&#8217; hand and
+brain in 1850.</p>
+
+<p>This is perhaps more or less a legendary account of its inception; like
+many another of the reasons for being of Dumas&#8217; romances, but it is
+sufficiently plausible and well authenticated to warrant acceptance,
+though it has been said, too, that it was to Paul Lacroix&mdash;&#8220;Bibliophile
+Jacob&#8221;&mdash;that Dumas owed the idea of the tale.</p>
+
+<p>At all events, it is a charming pen-picture of Holland; shows a wonderful
+love and knowledge of the national flower, the tulip, and is one of the
+most popular of all Dumas&#8217; tales, if we except the three cycles of
+romances, whose scenes and incidents are based on the history of French
+court life.</p>
+
+<p>Not for many years did the translators leave &#8220;La Tulipe Noire&#8221; unnoticed,
+and for over a half-century it has enjoyed a vogue which is at least
+comprehensible.</p>
+
+<p>Its plot and characters are most ingeniously and dextrously handled, but
+its greatest charm is incident to the process of evolving the famous black
+tulip from among the indigenous varieties which,<span class="pagenum"><a name="Page_363" id="Page_363">[Pg 363]</a></span> at the time of the scene
+of the novel, had not got beyond the brilliantly variegated yellows and
+reds. From the various stages of mauve, purple, brown, and, finally,
+something very nearly akin to black, the flowering bulb finally took form,
+as first presented to a wide-spread public by Dumas.</p>
+
+<p>The celebrated Alphonse Karr, a devoted lover of flowers, took the trouble
+to make a &#8220;romancers&#8217; garden,&#8221; composed of trees and flowers which
+contemporary novelists, finding the laws of nature too narrow for them,
+had described in their books. This imaginary garden owed to George Sand a
+blue chrysanthemum, to Victor Hugo a Bengal rose without thorns, to Balzac
+a climbing azalea, to Jules Janin a blue pink, to Madame de Genlis a green
+rose, to Eugene Sue a variety of cactus growing in Paris in the open air,
+to Paul F&eacute;val a variety of larch which retained its leaves during winter,
+to Forgues a pretty little pink clematis which flourished around the
+windows in the Latin quarter, to Rolle a scented camellia, and to Dumas
+the black tulip and a white lotus. The black tulip, it may be remarked,
+though unknown in Dumas&#8217; day, has now become an accomplished fact.</p>
+
+<p>Dumas, though not a botanist, had charming, if not very precise, notions
+about flowers,&mdash;as about animals,&mdash;and to him they doubtless said:</p>
+
+<p class="poem"><span class="pagenum"><a name="Page_364" id="Page_364">[Pg 364]</a></span>
+<span style="margin-left: 2em;">&#8220;Nous sommes les filles du feu secret,</span><br />
+Du feu qui circule dans les veines de la terre;<br />
+Nous sommes les filles de l&#8217;aurore et de la ros&eacute;e,<br />
+<span style="margin-left: 2em;">Nous sommes les filles de l&#8217;air,</span><br />
+<span style="margin-left: 2em;">Nous sommes les filles de l&#8217;eau;</span><br />
+Mais nous sommes avant tout les filles du ciel.&#8221;</p>
+
+<p>Dumas wandered much farther afield than the land of his beloved Valois. To
+Italy, to Spain, to Algeria, to Corsica, to Germany, and even to Russia.
+Mostly he made use of his experiences in his books of travel, of which
+&#8220;Les Impressions du Voyage&#8221; is the chief.</p>
+
+<p>Who would read the narrative of the transactions which took place in
+Russia&#8217;s capital in the early nineteenth century, should turn to &#8220;Les
+M&eacute;moires d&#8217;un Ma&icirc;tre d&#8217;Armes,&#8221; or &#8220;Dix-huit Mois &agrave; St. Petersburgh.&#8221; It
+presents a picture of the Russian life of the time, in which&mdash;the critics
+agree&mdash;there is but slight disguise. Its story&mdash;for it is confessedly
+fiction&mdash;turns upon the fortunes of a young subaltern, who played a
+considerable part in the conspiracy of 1825, and, it has been said by a
+contemporary writer of the time, hardly any circumstance but the real name
+of the young man is disguised.</p>
+
+<p>It is in the main, or, at least, it has for its principal incident, the
+story of a political exile, and it<span class="pagenum"><a name="Page_365" id="Page_365">[Pg 365]</a></span> is handled with Dumas&#8217; vivid and
+consummate skill, which therein proves again that the mere romancist had a
+good deal of the historian about him.</p>
+
+<p>Besides the <i>locale</i> of &#8220;La Tulipe Noire,&#8221; Dumas takes the action of &#8220;The
+Forty-Five Guardsmen&#8221; into the Netherlands. Fran&ccedil;ois, the Duc d&#8217;Anjou, had
+entered Belgium and had been elected Duc de Brabant, Sovereign Prince of
+Flanders. At this time it was supposed that Elizabeth of England saw the
+opportunity of reuniting the Calvinists of Flanders and France with those
+of England, and so acquire a triple crown. Then follows an account of the
+attack on Antwerp, which resulted in final defeat of the French, and
+presents one of the most graphic descriptions of a battle to be found in
+the pages of Dumas. The historic incident of the interview in Duc
+Fran&ccedil;ois&#8217; tent, between that worthy and the French Admiral de Joyeuse, is
+made much of by Dumas, and presents a most picturesque account of this
+bloody battle. The topography of Antwerp and the country around about is
+as graphic as a would-be painting.</p>
+
+<p>&#8220;&#8216;But,&#8217; cried the prince, &#8216;I must settle my position in the country. I am
+Duke of Brabant and Count of Flanders, in name, and I must be so in
+reality. This William, who is gone I know not where, spoke to me of a
+kingdom. Where is this <span class="pagenum"><a name="Page_366" id="Page_366">[Pg 366]</a></span>kingdom?&mdash;in Antwerp. Where is he?&mdash;probably in
+Antwerp also; therefore we must take Antwerp, and we shall know how we
+stand.&#8217;</p>
+
+<p>&#8220;&#8216;Oh! monseigneur, you know it now, or you are, in truth, a worse
+politician than I thought you. Who counselled you to take Antwerp?&mdash;the
+Prince of Orange. Who disappeared at the moment of taking the field?&mdash;the
+Prince of Orange. Who, while he made your Highness Duke of Brabant,
+reserved for himself the lieutenant-generalship of the duchy?&mdash;the Prince
+of Orange. Whose interest is it to ruin the Spaniards by you, and you by
+the Spaniards?&mdash;the Prince of Orange. Who will replace you, who will
+succeed, if he does not do so already?&mdash;the Prince of Orange. Oh!
+monseigneur, in following his counsels you have but annoyed the Flemings.
+Let a reverse come, and all those who do not dare to look you now in the
+face, will run after you like those timid dogs who run after those who
+fly.&#8217;</p>
+
+<p>&#8220;&#8216;What! you imagine that I can be beaten by wool-merchants and
+beer-drinkers?&#8217;</p>
+
+<p>&#8220;&#8216;These wool-merchants and these beer-drinkers have given plenty to do to
+Philippe de Valois, the Emperor Charles V., and Philippe II., who were
+three princes placed sufficiently high, monseigneur, for the comparison
+not to be disagreeable to you.&#8217;&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_367" id="Page_367">[Pg 367]</a></span>In &#8220;Pascal Bruno,&#8221; Dumas launched into a story of Sicilian brigandage,
+which has scarce been equalled, unless it were in his two other tales of
+similar purport&mdash;&#8220;Cherubino et Celestine,&#8221; and &#8220;Ma&icirc;tre Adam le Calabrais.&#8221;</p>
+
+<p>Originally it formed one of a series which were published in one
+volume&mdash;in 1838&mdash;under the title of &#8220;La Salle d&#8217;Armes, Pauline, et Pascal
+Bruno.&#8221;</p>
+
+<p>According to the &#8220;M&eacute;moires,&#8221; a favourite rendezvous of Dumas in Paris, at
+this period, was Grisier&#8217;s fencing-room. There it was that the <i>ma&icirc;tre
+d&#8217;armes</i> handed him the manuscript entitled &#8220;Eighteen Months at St.
+Petersburg,&#8221;&mdash;that remarkable account of a Russian exile,&mdash;and it is there
+that Dumas would have his readers to believe that he collected the
+materials for &#8220;Pauline&#8221; and &#8220;Murat.&#8221;</p>
+
+<p>The great attraction of &#8220;The Corsican Brothers&#8221; lies not so much with
+Corsica, the home of the <i>vendetta</i>, the land of Napoleon, and latterly
+known politically as the 86me Departement de France, as with the events
+which so closely and strenuously encircled the lives of the brothers De
+Franchi in Paris itself.</p>
+
+<p>Corsican life and topography is limned, however, with a fidelity which has
+too often been lacking in Dumas&#8217; description of foreign parts. Perhaps,
+as<span class="pagenum"><a name="Page_368" id="Page_368">[Pg 368]</a></span> has been said before, he extracted this information from others; but
+more likely&mdash;it seems to the writer&mdash;it came from his own intimate
+acquaintance with that island, as it is known that he was a visitor there
+in 1834.</p>
+
+<p>If this surmise be correct, the tale was a long time in taking shape,&mdash;an
+unusually long time for Dumas,&mdash;as the book did not appear until 1845, the
+same year as the appearance of &#8220;Monte Cristo&#8221; in book form.</p>
+
+<p>It was dedicated to Prosper Merim&eacute;e, whose &#8220;Colomba&#8221; ranks as its equal as
+a thrilling tale of Corsican life.</p>
+
+<p>It has been remarked that, curiously enough, in spite of the fact that the
+story has been so often dramatized and adapted for the stage,&mdash;and acted
+by persons of all shades and grades of ability,&mdash;Dumas never thought well
+enough of it to have given it that turn himself.</p>
+
+<p>Dumas&#8217; acquaintance with Naples never produced any more lucid paragraphs
+descriptive of character, and the local colour and scenic effect besides,
+than in the few short pages of &#8220;Les P&ecirc;cheurs du Filet.&#8221; It comes, of
+course, as a result of Dumas&#8217; rather extended sojourn in Italy.</p>
+
+<p>When Dumas actually did write scenic descriptions, they were exceedingly
+graphic,&mdash;though not<span class="pagenum"><a name="Page_369" id="Page_369">[Pg 369]</a></span> verbose,&mdash;and exceedingly picturesque,&mdash;though not
+sentimental,&mdash;as witness the following lines which open the tale&mdash;though
+he does make use a little farther on of the now trite tag, &#8220;See Naples and
+die.&#8221;</p>
+
+<p>&#8220;Every morning on awakening I was in the habit of resting my elbows on the
+window-sill and gazing far out over the limpid and sparkling mirror of the
+Tyrrhenian Sea.... At night the bay is so intensely blue that, under more
+favourable conditions, it resembles those leaden-hued lakes, such as
+Avernus, the Fucine Lake, or Lake Agnano,&mdash;all in the neighbourhood of
+Naples, which cover the craters of extinct volcanoes.&#8221;</p>
+
+<p>The story gives further a wonderful pen-portrait of Ladislas I. of
+Hungary, of Jerusalem, and of Sicily, and of the barbaric torture of &#8220;The
+Question,&#8221; which was performed upon the aspiring lover of Joanna of
+Naples.</p>
+
+<p>Rome figures chiefly in &#8220;The Count of Monte Cristo,&#8221; wherein half a dozen
+chapters are devoted to the &#8220;Eternal City.&#8221; Here it is that Monte Cristo
+first meets Albert de Morcerf, son of one of that trio of enemies on whom
+the count has sworn revenge. De Morcerf, enjoying the pleasures of the
+Roman carnival, is captured by bandits, from whom he is rescued by the
+count, who, in saving the son,<span class="pagenum"><a name="Page_370" id="Page_370">[Pg 370]</a></span> makes the first move of vengeance against
+the father.</p>
+
+<p>Various interesting parts of Rome are described and touched upon,&mdash;the
+Teatro Argentino, the Colosseum, the Plaza del Popolo&mdash;scene of the public
+executions of that time,&mdash;the catacombs of San Sebastian, and many others.
+The characteristic and picturesque manners and customs of the Romans, from
+<i>noblesse</i> to peasants, are set down here in vivid and graphic style; and
+it is clearly plain that when Dumas sojourned in Rome he &#8220;did as the
+Romans do.&#8221;</p>
+
+<p>Dumas&#8217; familiarity with Switzerland was no greater or no less than his
+knowledge of Spain, of Italy, of Russia, or of Corsica. In his volumes of
+travel, &#8220;Impressions du Voyage,&#8221; are many charming bits of narrative which
+might well be extracted and elaborated into what is otherwise known as
+fiction. With regard to &#8220;Pauline,&#8221; this is exactly what did happen, or,
+rather, the relationship between the Pauline of the novelette and the
+Pauline of &#8220;La Voyage en Suisse&#8221; is one based upon a common parentage.</p>
+
+<p>Switzerland early attracted Dumas&#8217; attention. He took his first tour in
+the cantons in 1832, partly as a means of convalescing from a severe
+illness, and partly because he was in danger of arrest for<span class="pagenum"><a name="Page_371" id="Page_371">[Pg 371]</a></span> the too active
+part taken by him in the public funeral of General Lamarque and the riots
+that followed. No sooner was Dumas <i>en route</i> than the leaves of his
+note-book were torn asunder and despatched forthwith to the then newly
+founded <i>Revue des Deux Mondes</i>.</p>
+
+<p>At Fl&uuml;elen, that high Alpine pass, the mysterious veiled Pauline de
+Meulien and her cavalier, Alfred de N&mdash;&mdash;, make their first appearance.
+One feels intuitively that here are the elements of a drama, of which the
+author will avail himself before long. The voyages continue, however, and
+the veiled lady fails to reappear until the end of the journey, when
+another transitory glimpse of her is had at Pfeffers.</p>
+
+<p>This Pauline&#8217;s adventures evidently demanded more space than the travels
+could afford, and became ultimately a novelette.</p>
+
+<p>&#8220;Pauline&#8221; is one of Dumas&#8217; early attempts at fiction, and is told with
+originality, and a very considerable skill. Nearly twenty years after
+&#8220;Pauline&#8221; was written, Dumas told us that he met the counterpart of the
+villain of the story, Horace de Beuzeval, who consigned the beautiful
+Pauline to a living burial in the old abbey vault on the coast of
+Normandy, near Trouville.</p>
+
+<p>Dumas&#8217; pictures of Switzerland are more or less conventional; with him the
+story was the thing,<span class="pagenum"><a name="Page_372" id="Page_372">[Pg 372]</a></span> and the minuti&aelig; of stage setting but a side issue.</p>
+
+<hr style="width: 25%;" />
+
+<p>In &#8220;Les Crimes C&eacute;l&egrave;bres,&#8221; Dumas goes back to history, though he sticks to
+France, with the exception of those dealing with the Borgias and Mary
+Stuart.</p>
+
+<p>The crimes of the Borgias&mdash;and they were many&mdash;end the series, though they
+cover but the period 1492-1507. The most unnatural and quite the most
+despicable being the throwing into the Tiber by C&aelig;sar Borgia the cadaver
+of his brother. Rome, the Popes, and Italy in general form much of the
+venue, but the political history of France, Spain, and Austria enter
+largely into the movement of the chronicle, and such widely separated
+towns of France as Perpignan, in the Comt&eacute; de Roussillon in the south, and
+Hesdin, Etaples, and Bethune in the north, all play their parts in the
+political treaties of the time.</p>
+
+<p>&nbsp;</p>
+<p class="center">THE END.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_373" id="Page_373">[Pg 373]</a></span></p>
+<h2>Appendix I.</h2>
+<h3>DUMAS&#8217; ROMANCES AND HISTORICAL STUDIES CLASSED IN CHRONOLOGICAL ORDER</h3>
+
+<p>&nbsp;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="right">B.C. 100</td><td><span class="spacer2">&nbsp;</span></td><td>C&eacute;sar.</td></tr>
+<tr><td align="right">B.C. 64</td><td>&nbsp;</td><td>Gaule et France.</td></tr>
+<tr><td align="right">A.D. 57</td><td>&nbsp;</td><td>Act&eacute;.</td></tr>
+<tr><td align="right">740-1425</td><td>&nbsp;</td><td>Les Hommes de Fer.</td></tr>
+<tr><td align="right">740</td><td>&nbsp;</td><td>P&eacute;pin.</td></tr>
+<tr><td align="right">748</td><td>&nbsp;</td><td>Charlemagne.</td></tr>
+<tr><td align="right">1076</td><td>&nbsp;</td><td>Guelfes et Gibelins.</td></tr>
+<tr><td align="right">1099</td><td>&nbsp;</td><td>Prax&egrave;de.</td></tr>
+<tr><td align="right">1157</td><td>&nbsp;</td><td>Ivanhoe.</td></tr>
+<tr><td align="right">1162</td><td>&nbsp;</td><td>Le Prince de Voleurs.</td></tr>
+<tr><td align="right">1162</td><td>&nbsp;</td><td>Robin Hood.</td></tr>
+<tr><td align="right">1248</td><td>&nbsp;</td><td>Dom Martins de Freytas.</td></tr>
+<tr><td align="right">1291-1737</td><td>&nbsp;</td><td>Les M&eacute;dicis.</td></tr>
+<tr><td align="right">1324-1672</td><td>&nbsp;</td><td>Italiens et Flamands.</td></tr>
+<tr><td align="right">1324</td><td>&nbsp;</td><td>Ange Gaddi.</td></tr>
+<tr><td align="right">1338</td><td>&nbsp;</td><td>La Comtesse de Salisbury.</td></tr>
+<tr><td align="right">1356</td><td>&nbsp;</td><td>Pierre le Cruel.</td></tr>
+<tr><td align="right">1385</td><td>&nbsp;</td><td>Monseigneur Gaston Ph&oelig;bus.</td></tr>
+<tr><td align="right">1388</td><td>&nbsp;</td><td>Le Batard de Maul&eacute;on.</td></tr>
+<tr><td align="right">1389</td><td>&nbsp;</td><td>Isabel de Bavi&egrave;re.</td></tr>
+<tr><td align="right">1402</td><td>&nbsp;</td><td>Masaccio.</td></tr>
+<tr><td align="right">1412</td><td>&nbsp;</td><td>Fr&egrave;re Philippe Lippi.</td></tr>
+<tr><td align="right">1414</td><td>&nbsp;</td><td>La P&ecirc;che aux Filets.</td></tr>
+<tr><td align="right">1425</td><td>&nbsp;</td><td>Le Sire de Giac.</td></tr>
+<tr><td align="right">1429</td><td>&nbsp;</td><td>Jehanne la Pucelle.</td></tr>
+<tr><td align="right">1433</td><td>&nbsp;</td><td>Charles le T&eacute;m&eacute;raire.</td></tr>
+<tr><td align="right">1437</td><td>&nbsp;</td><td>Alexandre Botticelli.</td></tr>
+<tr><td align="right">1437-1587</td><td>&nbsp;</td><td>Les Stuarts.</td></tr>
+<tr><td align="right">1446</td><td>&nbsp;</td><td>Le P&eacute;rugin.</td></tr>
+<tr><td align="right">1452</td><td>&nbsp;</td><td>Jean Bellin.</td></tr>
+<tr><td align="right">1470</td><td>&nbsp;</td><td>Quintin Metzys.</td></tr>
+<tr><td align="right">1474-1576</td><td>&nbsp;</td><td>Trois Ma&icirc;tres.</td></tr>
+<tr><td align="right">1474-1564</td><td>&nbsp;</td><td>Michel-Ange.</td></tr>
+<tr><td align="right">1477-1576</td><td>&nbsp;</td><td>Titien.</td></tr>
+<tr><td align="right">1483-1520</td><td>&nbsp;</td><td>Rapha&euml;l.</td></tr>
+<tr><td align="right">1484</td><td>&nbsp;</td><td>Andr&eacute; de Mantegna.</td></tr>
+<tr><td align="right">1486</td><td>&nbsp;</td><td>L&eacute;onard da Vinci.</td></tr>
+<tr><td align="right">1490</td><td>&nbsp;</td><td>Fra Bartolomm&eacute;o.</td></tr>
+<tr><td align="right">1490</td><td>&nbsp;</td><td>Sogliana.</td></tr>
+<tr><td align="right">1492</td><td>&nbsp;</td><td>Le Pincturiccio.</td></tr>
+<tr><td align="right">1496</td><td>&nbsp;</td><td>Luca de Cranach.</td></tr>
+<tr><td align="right">1503</td><td>&nbsp;</td><td>Baldassare Peruzzi.</td></tr>
+<tr><td align="right">1504</td><td>&nbsp;</td><td>Giorgione.</td></tr>
+<tr><td align="right">1512</td><td>&nbsp;</td><td>Baccio Bandinelli.</td></tr>
+<tr><td align="right">1512</td><td>&nbsp;</td><td>Andr&eacute; del Sarto.</td></tr>
+<tr><td align="right">1519</td><td>&nbsp;</td><td>Le Salteador.</td></tr>
+<tr><td align="right">1523</td><td>&nbsp;</td><td>Jacques de Pontormo.</td></tr>
+<tr><td align="right">1530</td><td>&nbsp;</td><td>Jean Holbein.</td></tr>
+<tr><td align="right">1531</td><td>&nbsp;</td><td>Razzi.</td></tr>
+<tr><td align="right">1537</td><td>&nbsp;</td><td>Une Nuit &agrave; Florence.</td></tr>
+<tr><td align="right">1540</td><td>&nbsp;</td><td>Jules Romain.</td></tr>
+<tr><td align="right">1540</td><td>&nbsp;</td><td>Ascanio.</td></tr>
+<tr><td align="right">1542</td><td>&nbsp;</td><td>Albert Durer.</td></tr>
+<tr><td align="right">1531</td><td>&nbsp;</td><td>Les Deux Dianes.</td></tr>
+<tr><td align="right">1553</td><td>&nbsp;</td><td>Henri IV.</td></tr>
+<tr><td align="right">1555</td><td>&nbsp;</td><td>Le Page du Duc de Savoie.</td></tr>
+<tr><td align="right">1559</td><td>&nbsp;</td><td>L&#8217;Horoscope.</td></tr>
+<tr><td align="right">1572</td><td>&nbsp;</td><td>La Reine Margot.</td></tr>
+<tr><td align="right">1578</td><td>&nbsp;</td><td>La Dame de Monsoreau.</td></tr>
+<tr><td align="right">1585</td><td>&nbsp;</td><td>Les Quarante-Cinq.</td></tr>
+<tr><td align="right">1585</td><td>&nbsp;</td><td>Louis XIII. et Richelieu.</td></tr>
+<tr><td align="right"><span class="pagenum"><a name="Page_374" id="Page_374">[Pg 374]</a></span>1619-1825</td><td>&nbsp;</td><td>Les Drames de la Mer.</td></tr>
+<tr><td align="right">1619</td><td>&nbsp;</td><td>Boutiko&eacute;.</td></tr>
+<tr><td align="right">1621</td><td>&nbsp;</td><td>Un Courtesan.</td></tr>
+<tr><td align="right">1625</td><td>&nbsp;</td><td>Les Trois Mousquetaires.</td></tr>
+<tr><td align="right">1637</td><td>&nbsp;</td><td>La Colombe.</td></tr>
+<tr><td align="right">1638-1715</td><td>&nbsp;</td><td>Louis XIV. et Son Si&egrave;cle.</td></tr>
+<tr><td align="right">1639</td><td>&nbsp;</td><td>La Princesse de Monaco.</td></tr>
+<tr><td align="right">1640</td><td>&nbsp;</td><td>Gu&eacute;rard Berck-Heyden.</td></tr>
+<tr><td align="right">1645</td><td>&nbsp;</td><td>Vingt Ans Apr&egrave;s.</td></tr>
+<tr><td align="right">1650</td><td>&nbsp;</td><td>La Guerre des Femmes.</td></tr>
+<tr><td align="right">1660</td><td>&nbsp;</td><td>Le Vicomte de Bragelonne.</td></tr>
+<tr><td align="right">1672</td><td>&nbsp;</td><td>Fran&ccedil;ois Mi&eacute;ris.</td></tr>
+<tr><td align="right">1672</td><td>&nbsp;</td><td>La Tulipe Noire.</td></tr>
+<tr><td align="right">1683</td><td>&nbsp;</td><td>La Dame de Volupt&eacute;.</td></tr>
+<tr><td align="right">1697</td><td>&nbsp;</td><td>M&eacute;moires d&#8217;une Aveugle.</td></tr>
+<tr><td align="right">1697</td><td>&nbsp;</td><td>Les Confessions de la Marquise.</td></tr>
+<tr><td align="right">1703</td><td>&nbsp;</td><td>Les Deux Reines.</td></tr>
+<tr><td align="right">1710-1774</td><td>&nbsp;</td><td>Louis XV. et Sa Cour.</td></tr>
+<tr><td align="right">1715-1723</td><td>&nbsp;</td><td>La R&eacute;gence.</td></tr>
+<tr><td align="right">1718</td><td>&nbsp;</td><td>Le Chevalier d&#8217;Harmental.</td></tr>
+<tr><td align="right">1719</td><td>&nbsp;</td><td>Une Fille du R&eacute;gent.</td></tr>
+<tr><td align="right">1729</td><td>&nbsp;</td><td>Olympe de Cl&egrave;ves.</td></tr>
+<tr><td align="right">1739</td><td>&nbsp;</td><td>La Maison de Glace.</td></tr>
+<tr><td align="right">1754-1789</td><td>&nbsp;</td><td>Louis XVI. et la R&eacute;volution.</td></tr>
+<tr><td align="right">1762-1833</td><td>&nbsp;</td><td>Mes M&eacute;moires.</td></tr>
+<tr><td align="right">1769-1821</td><td>&nbsp;</td><td>Napol&eacute;on.</td></tr>
+<tr><td align="right">1770</td><td>&nbsp;</td><td>Joseph Balsamo.</td></tr>
+<tr><td align="right">1772</td><td>&nbsp;</td><td>Le Capitaine Marion.</td></tr>
+<tr><td align="right">1779</td><td>&nbsp;</td><td>Le Capitaine Paul.</td></tr>
+<tr><td align="right">1784</td><td>&nbsp;</td><td>Le Collier de la Reine.</td></tr>
+<tr><td align="right">1785</td><td>&nbsp;</td><td>Le Docteur Myst&eacute;rieux.</td></tr>
+<tr><td align="right">1788</td><td>&nbsp;</td><td>Ing&egrave;nue.</td></tr>
+<tr><td align="right">1789</td><td>&nbsp;</td><td>Ange Pitou.</td></tr>
+<tr><td align="right">1789</td><td>&nbsp;</td><td>Le Chateau d&#8217;Eppstein.</td></tr>
+<tr><td align="right">1790</td><td>&nbsp;</td><td>La Comtesse de Charny.</td></tr>
+<tr><td align="right">1791</td><td>&nbsp;</td><td>La Route de Varennes.</td></tr>
+<tr><td align="right">1792</td><td>&nbsp;</td><td>C&eacute;cile.</td></tr>
+<tr><td align="right">1793</td><td>&nbsp;</td><td>Le Chevalier de Maison-Rouge.</td></tr>
+<tr><td align="right">1793</td><td>&nbsp;</td><td>La Fille du Marquis.</td></tr>
+<tr><td align="right">1793</td><td>&nbsp;</td><td>Blanche de Beaulieu.</td></tr>
+<tr><td align="right">1793</td><td>&nbsp;</td><td>Le Drame de &#8217;93.</td></tr>
+<tr><td align="right">1794</td><td>&nbsp;</td><td>Les Blancs et les Bleus.</td></tr>
+<tr><td align="right">1795</td><td>&nbsp;</td><td>La Junon.</td></tr>
+<tr><td align="right">1798</td><td>&nbsp;</td><td>La San F&eacute;lice.</td></tr>
+<tr><td align="right">1799</td><td>&nbsp;</td><td>Emma Lyonna.</td></tr>
+<tr><td align="right">1799</td><td>&nbsp;</td><td>Les Compagnons de J&eacute;hu.</td></tr>
+<tr><td align="right">1800</td><td>&nbsp;</td><td>Souvenirs d&#8217;une Favorite.</td></tr>
+<tr><td align="right">1807</td><td>&nbsp;</td><td>M&eacute;moires de Garibaldi.</td></tr>
+<tr><td align="right">1812</td><td>&nbsp;</td><td>Le Capitaine Richard.</td></tr>
+<tr><td align="right">1815</td><td>&nbsp;</td><td>Murat.</td></tr>
+<tr><td align="right">1824</td><td>&nbsp;</td><td>Le Maitre d&#8217;Armes.</td></tr>
+<tr><td align="right">1825</td><td>&nbsp;</td><td>Le Kent.</td></tr>
+<tr><td align="right">1831</td><td>&nbsp;</td><td>Les Louves de Machecoul.</td></tr>
+<tr><td align="right">1838-1858</td><td>&nbsp;</td><td>Les Morts Vont Vite.</td></tr>
+<tr><td align="right">1838</td><td>&nbsp;</td><td>H&eacute;g&eacute;sippe Moreau.</td></tr>
+<tr><td align="right">1842</td><td>&nbsp;</td><td>Le Duc d&#8217;Orl&eacute;ans.</td></tr>
+<tr><td align="right">1848</td><td>&nbsp;</td><td>Chateaubriand.</td></tr>
+<tr><td align="right">1849</td><td>&nbsp;</td><td>La Derni&egrave;re Ann&eacute;e de Marie Dorval.</td></tr>
+<tr><td align="right">1857</td><td>&nbsp;</td><td>B&eacute;ranger.</td></tr>
+<tr><td align="right">1857</td><td>&nbsp;</td><td>Eug&egrave;ne Sue.</td></tr>
+<tr><td align="right">1857</td><td>&nbsp;</td><td>Alfred de Musset.</td></tr>
+<tr><td align="right">1857</td><td>&nbsp;</td><td>Achille Dev&eacute;ria.</td></tr>
+<tr><td align="right">1857</td><td>&nbsp;</td><td>Lef&egrave;vre-Deumier.</td></tr>
+<tr><td align="right">1858</td><td>&nbsp;</td><td>La Duchesse d&#8217;Orl&eacute;ans.</td></tr>
+<tr><td align="right">1860</td><td>&nbsp;</td><td>Les Garibaldiens.</td></tr>
+<tr><td align="right">1866</td><td>&nbsp;</td><td>La Terreur Prussienne.</td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_375" id="Page_375">[Pg 375]</a></span></p>
+<h2>Appendix II.</h2>
+<h3>DUMAS&#8217; ROMANCES, SKETCHES, AND &#8220;NOUVELLES INTIMES&#8221; CLASSED IN CHRONOLOGICAL ORDER</h3>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>1469</td><td><span class="spacer2">&nbsp;</span></td><td>Isaac Laquedem.</td></tr>
+<tr><td>1708</td><td>&nbsp;</td><td>Sylvandire.</td></tr>
+<tr><td>1754</td><td>&nbsp;</td><td>Le Pasteur d&#8217;Ashbourn.</td></tr>
+<tr><td>1774</td><td>&nbsp;</td><td>Le Testament de M. de Chauvelin.</td></tr>
+<tr><td>1780</td><td>&nbsp;</td><td>Le Meneur de Loups.</td></tr>
+<tr><td>1793</td><td>&nbsp;</td><td>La Femme au Collier de Velours.</td></tr>
+<tr><td>1797</td><td>&nbsp;</td><td>Jacques Ortis.</td></tr>
+<tr><td>1799</td><td>&nbsp;</td><td>Souvenirs d&#8217;Antony.</td></tr>
+<tr><td>1805</td><td>&nbsp;</td><td>Un Cadet de Famille.</td></tr>
+<tr><td>1806</td><td>&nbsp;</td><td>Aventures de John Davys.</td></tr>
+<tr><td>1810</td><td>&nbsp;</td><td>Les Mariages du P&egrave;re Olifus.</td></tr>
+<tr><td>1810</td><td>&nbsp;</td><td>Le Trou de l&#8217;Enfer.</td></tr>
+<tr><td>1812</td><td>&nbsp;</td><td>Jane.</td></tr>
+<tr><td>1814</td><td>&nbsp;</td><td>Le Comte de Monte-Cristo.</td></tr>
+<tr><td>1815</td><td>&nbsp;</td><td>Conscience l&#8217;Innocent.</td></tr>
+<tr><td>1817</td><td>&nbsp;</td><td>Le P&egrave;re La Ruine.</td></tr>
+<tr><td>1824</td><td>&nbsp;</td><td>Georges.</td></tr>
+<tr><td>1827</td><td>&nbsp;</td><td>Les Mohicans de Paris.</td></tr>
+<tr><td>1827</td><td>&nbsp;</td><td>Salvator.</td></tr>
+<tr><td>1828</td><td>&nbsp;</td><td>Sultanetta.</td></tr>
+<tr><td>1828</td><td>&nbsp;</td><td>Jacquot sans Oreilles.</td></tr>
+<tr><td>1829</td><td>&nbsp;</td><td>Catherine Blum.</td></tr>
+<tr><td>1829</td><td>&nbsp;</td><td>La Princesse Flora.</td></tr>
+<tr><td>1830</td><td>&nbsp;</td><td>Dieu Dispose.</td></tr>
+<tr><td>1830</td><td>&nbsp;</td><td>La Boule de Neige.</td></tr>
+<tr><td>1831</td><td>&nbsp;</td><td>Le Capitaine Pamphile.</td></tr>
+<tr><td>1831</td><td>&nbsp;</td><td>Les Drames Galants.</td></tr>
+<tr><td>1831</td><td>&nbsp;</td><td>Le Fils du For&ccedil;at.</td></tr>
+<tr><td>1831</td><td>&nbsp;</td><td>Les Mille et un Fant&ocirc;mes.</td></tr>
+<tr><td>1832</td><td>&nbsp;</td><td>Une Vie d&#8217;Artiste.</td></tr>
+<tr><td>1834</td><td>&nbsp;</td><td>Pauline.</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>Fernande.</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>Gabriel Lambert.</td></tr>
+<tr><td>1838</td><td>&nbsp;</td><td>Amaury.</td></tr>
+<tr><td>1841</td><td>&nbsp;</td><td>Les Fr&egrave;res Corses.</td></tr>
+<tr><td>1841</td><td>&nbsp;</td><td>Le Chasseur de Sauvagini.</td></tr>
+<tr><td>1842</td><td>&nbsp;</td><td>Black.</td></tr>
+<tr><td>1846</td><td>&nbsp;</td><td>Parisiens et Provinciaux.</td></tr>
+<tr><td>1847</td><td>&nbsp;</td><td>L&#8217;Ile de Feu.</td></tr>
+<tr><td>1856</td><td>&nbsp;</td><td>Madame de Chamblay.</td></tr>
+<tr><td>1856</td><td>&nbsp;</td><td>Une Aventure d&#8217;Amour.</td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_376" id="Page_376">[Pg 376]</a></span></p>
+<h2>Appendix III.</h2>
+<h3>DUMAS&#8217; TRAVELS CLASSED IN CHRONOLOGICAL ORDER</h3>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>1830</td><td><span class="spacer2">&nbsp;</span></td><td>Quinze Jours au Sinai.</td></tr>
+<tr><td>1832</td><td>&nbsp;</td><td>Suisse.</td></tr>
+<tr><td>1834</td><td>&nbsp;</td><td>Le Midi de la France.</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>Une Ann&eacute;e &agrave; Florence.</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>La Ville Palmieri.</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>Le Speronare. (Sicile.)</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>Le Capitaine Arena. (Sicile.)</td></tr>
+<tr><td>1835</td><td>&nbsp;</td><td>Le Corricolo. (Naples.)</td></tr>
+<tr><td>1838</td><td>&nbsp;</td><td>Excursions sur les Bords du Rhin.</td></tr>
+<tr><td>1839</td><td>&nbsp;</td><td>La Vie au D&eacute;sert. (Afrique m&eacute;ridionale.)</td></tr>
+<tr><td>1843</td><td>&nbsp;</td><td>L&#8217;Arabie Heureuse.</td></tr>
+<tr><td>1846</td><td>&nbsp;</td><td>De Paris &agrave; Cadix.</td></tr>
+<tr><td>1846</td><td>&nbsp;</td><td>Le V&eacute;loce (Tanger, Alger, Tunis.)</td></tr>
+<tr><td>1850</td><td>&nbsp;</td><td>Un Gil Blas en Californie.</td></tr>
+<tr><td>1853</td><td>&nbsp;</td><td>Un Pays Inconnu. (Havane, Br&eacute;sil.)</td></tr>
+<tr><td>1858</td><td>&nbsp;</td><td>En Russie.</td></tr>
+<tr><td>1858</td><td>&nbsp;</td><td>Le Caucase.</td></tr>
+<tr><td>1858</td><td>&nbsp;</td><td>Les Baleiniers.</td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_377" id="Page_377">[Pg 377]</a></span></p>
+<h2>Index</h2>
+
+<div class="index">
+<p>
+Abbaye de Montmartre, <a href="#Page_227">227</a>.<br />
+<br />
+Abbey of St. Denis, <a href="#Page_142">142</a>, <a href="#Page_143">143</a>.<br />
+<br />
+Abbey of St. Genevieve, <a href="#Page_37">37</a>, <a href="#Page_136">136</a>, <a href="#Page_187">187</a>, <a href="#Page_253">253</a>.<br />
+<br />
+Abelard and Helo&iuml;se, <a href="#Page_82">82</a>.<br />
+<br />
+About, Edmond, <a href="#Page_42">42</a>, <a href="#Page_188">188</a>.<br />
+<br />
+Acad&eacute;mie Fran&ccedil;aise, <a href="#Page_228">228</a>.<br />
+<br />
+Aigues-Mortes, <a href="#Page_139">139</a>, <a href="#Page_347">347</a>.<br />
+<br />
+Alais, <a href="#Page_160">160</a>.<br />
+<br />
+Al&eacute;gres, D&#8217;, <a href="#Page_224">224</a>.<br />
+<br />
+Alen&ccedil;on, <a href="#Page_79">79</a>, <a href="#Page_326">326</a>.<br />
+<br />
+Algiers, <a href="#Page_45">45</a>.<br />
+<br />
+Alicante, <a href="#Page_159">159</a>.<br />
+<br />
+All&eacute;e de la Muette, <a href="#Page_231">231</a>.<br />
+<br />
+All&eacute;e des Cygnes, <a href="#Page_11">11</a>.<br />
+<br />
+Alsace and Lorraine, <a href="#Page_11">11</a>.<br />
+<br />
+&#8220;Ambigu,&#8221; The, <a href="#Page_54">54</a>.<br />
+<br />
+Amsterdam, <a href="#Page_361">361</a>.<br />
+<br />
+&#8220;An Englishman in Paris&#8221; (Vandam), <a href="#Page_94">94</a>, <a href="#Page_116">116</a>.<br />
+<br />
+&#8220;Ange Pitou,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Angers, <a href="#Page_332">332-334</a>.<br />
+<br />
+Angers, Castle of, <a href="#Page_333">333</a>.<br />
+<br />
+Angers, David d&#8217;, <a href="#Page_82">82</a>.<br />
+<br />
+Angl&egrave;s, Count, <a href="#Page_151">151</a>.<br />
+<br />
+Anjou, <a href="#Page_333">333</a>.<br />
+<br />
+Anjou, Duc d&#8217;, <a href="#Page_365">365</a>.<br />
+<br />
+Anne of Austria, <a href="#Page_115">115</a>, <a href="#Page_266">266</a>, <a href="#Page_289">289</a>, <a href="#Page_312">312</a>.<br />
+<br />
+&#8220;Anthony,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Antwerp, <a href="#Page_365">365</a>.<br />
+<br /><a name="aramis" id="aramis"></a>
+Aramis, <a href="#Page_45">45</a>, <a href="#Page_49">49</a>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>, <a href="#Page_252">252</a>, <a href="#Page_300">300</a>, <a href="#Page_329">329</a>.<br />
+<br />
+Aramitz, Henry d&#8217;, see <a href="#aramis">Aramis</a>.<br />
+<br />
+Arc de Triomphe, <a href="#Page_147">147</a>.<br />
+<br />
+Arc de Triomphe du Carrousel, <a href="#Page_135">135</a>.<br />
+<br />
+Arc de Triomphe d&#8217;Etoile, <a href="#Page_88">88</a>, <a href="#Page_138">138</a>, <a href="#Page_192">192</a>.<br />
+<br />
+Argenteuil, <a href="#Page_314">314</a>.<br />
+<br />
+Arles, <a href="#Page_347">347</a>, <a href="#Page_349">349</a>.<br />
+<br />
+Arnault, Lucien, <a href="#Page_18">18</a>, <a href="#Page_71">71</a>.<br />
+<br />
+Arras, <a href="#Page_49">49</a>, <a href="#Page_324">324</a>.<br />
+<br />
+Artagnan, <a href="#Page_49">49</a>.<br />
+<br />
+Artagnan, see <a href="#dartagnan">D&#8217;Artagnan</a>.<br />
+<br />
+Asni&egrave;res, <a href="#Page_171">171</a>.<br />
+<br /><a name="athos" id="athos"></a>
+Athos, <a href="#Page_45">45</a>, <a href="#Page_49">49</a>, <a href="#Page_246">246-248</a>, <a href="#Page_252">252</a>, <a href="#Page_313">313</a>.<br />
+<br />
+Auber, <a href="#Page_117">117</a>.<br />
+<br />
+&#8220;Au Fid&egrave;le Berger,&#8221; <a href="#Page_205">205</a>.<br />
+<br />
+Augennes, Jacques d&#8217;, <a href="#Page_315">315</a>.<br />
+<br />
+Augennes, Regnault d&#8217;, <a href="#Page_315">315</a>.<br />
+<br />
+&#8220;Au Grand Roi Charlemagne,&#8221; <a href="#Page_248">248</a>.<br />
+<br />
+Aumale, D&#8217;, <a href="#Page_323">323</a>.<br />
+<br />
+Auteuil, <a href="#Page_87">87</a>.<br />
+<br />
+Auvergne, <a href="#Page_321">321</a>.<br />
+<br />
+Auxerre, <a href="#Page_159">159</a>.<br />
+<br />
+Avedick, <a href="#Page_289">289</a>.<br />
+<br />
+Avenel, Georges, <a href="#Page_101">101-103</a>.<br />
+<br />
+Avenue de la Grande Arm&eacute;e, <a href="#Page_139">139</a>.<br />
+<br />
+Avenue de l&#8217;Op&eacute;ra, <a href="#Page_114">114</a>, <a href="#Page_149">149</a>.<br />
+<span class="pagenum"><a name="Page_378" id="Page_378">[Pg 378]</a></span><br />
+Avenue de Villiers, <a href="#Page_124">124</a>.<br />
+<br />
+Avignon, <a href="#Page_359">359</a>.<br />
+<br />
+<br />
+Balzac, <a href="#Page_69">69</a>, <a href="#Page_82">82</a>, <a href="#Page_127">127</a>, <a href="#Page_363">363</a>.<br />
+<br />
+Barb&eacute;s, <a href="#Page_179">179</a>.<br />
+<br />
+Barbizon, <a href="#Page_71">71</a>.<br />
+<br />
+Barras, <a href="#Page_74">74</a>.<br />
+<br />
+Barrere, <a href="#Page_143">143</a>.<br />
+<br />
+Bartholdi&#8217;s &#8220;Liberty,&#8221; <a href="#Page_11">11</a>.<br />
+<br />
+Bastille, The, <a href="#Page_149">149</a>, <a href="#Page_152">152</a>, <a href="#Page_173">173</a>, <a href="#Page_196">196</a>, <a href="#Page_225">225</a>, <a href="#Page_241">241</a>, <a href="#Page_263">263</a>, <a href="#Page_268">268</a>, <a href="#Page_278">278</a>, <a href="#Page_284">284-287</a>, <a href="#Page_292">292</a>, <a href="#Page_295">295</a>, <a href="#Page_296">296</a>.<br />
+<br />
+Bath, <a href="#Page_76">76</a>.<br />
+<br />
+Batignolles, <a href="#Page_87">87</a>.<br />
+<br />
+Batz, Baron de, <a href="#Page_50">50</a>.<br />
+<br />
+Batz de Castlemore, Charles de, see <a href="#dartagnan">D&#8217;Artagnan</a>.<br />
+<br />
+Baudry, <a href="#Page_129">129</a>, <a href="#Page_151">151</a>.<br />
+<br />
+Bauville, Theodore de, <a href="#Page_51">51</a>.<br />
+<br />
+Bavaria, <a href="#Page_77">77</a>.<br />
+<br />
+Beaucaire, <a href="#Page_347">347-349</a>.<br />
+<br />
+Beaufort, Duke of, <a href="#Page_289">289</a>.<br />
+<br />
+Beausire, <a href="#Page_254">254</a>.<br />
+<br />
+Belgium, <a href="#Page_8">8</a>, <a href="#Page_92">92</a>, <a href="#Page_365">365</a>.<br />
+<br />
+Bellegarde, <a href="#Page_347">347</a>.<br />
+<br />
+Belle Ile, <a href="#Page_327">327-329</a>.<br />
+<br />
+Belleville, <a href="#Page_87">87</a>.<br />
+<br />
+Bellune, Duc de, <a href="#Page_84">84</a>.<br />
+<br />
+B&eacute;ranger, <a href="#Page_3">3</a>, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>.<br />
+<br />
+Bercy, <a href="#Page_87">87</a>.<br />
+<br />
+Bernhardt, Sara, <a href="#Page_191">191</a>.<br />
+<br />
+Berry, Duchesse de, <a href="#Page_152">152</a>.<br />
+<br />
+Bertuccio, <a href="#Page_328">328</a>.<br />
+<br />
+Besan&ccedil;on, <a href="#Page_92">92</a>.<br />
+<br />
+Bethune, <a href="#Page_372">372</a>.<br />
+<br />
+Beuzeval, Horace de, <a href="#Page_371">371</a>.<br />
+<br />
+Biard, <a href="#Page_224">224</a>.<br />
+<br />
+&#8220;Biblioth&egrave;que Royale,&#8221; <a href="#Page_50">50</a>, <a href="#Page_131">131</a>, <a href="#Page_135">135</a>, <a href="#Page_253">253</a>.<br />
+<br />
+Bic&ecirc;tre, <a href="#Page_234">234</a>.<br />
+<br />
+Bigelow, John, <a href="#Page_125">125</a>.<br />
+<br />
+Billot, Father, <a href="#Page_18">18</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>.<br />
+<br />
+&#8220;Black Tulip,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+<i>Blackwood&#8217;s Magazine</i>, <a href="#Page_257">257</a>.<br />
+<br />
+Blanc, Louis, <a href="#Page_75">75</a>, <a href="#Page_179">179</a>.<br />
+<br />
+Blanqui, <a href="#Page_179">179</a>.<br />
+<br />
+Blois, <a href="#Page_155">155</a>, <a href="#Page_246">246</a>, <a href="#Page_330">330-332</a>.<br />
+<br />
+Blois, Ch&acirc;teau de, <a href="#Page_330">330</a>, <a href="#Page_331">331</a>.<br />
+<br />
+Bohemia, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>.<br />
+<br />
+Boieldieu, <a href="#Page_82">82</a>, <a href="#Page_153">153</a>.<br />
+<br />
+Bois de Boulogne, <a href="#Page_89">89</a>, <a href="#Page_150">150</a>, <a href="#Page_192">192</a>, <a href="#Page_231">231</a>, <a href="#Page_298">298</a>, <a href="#Page_319">319</a>.<br />
+<br />
+Bois de Meudon, <a href="#Page_303">303</a>.<br />
+<br />
+Bois de Vincennes, <a href="#Page_89">89</a>, <a href="#Page_147">147</a>, <a href="#Page_150">150</a>, <a href="#Page_319">319</a>.<br />
+<br />
+Boissy, Adrien de, <a href="#Page_255">255</a>, <a href="#Page_256">256</a>.<br />
+<br />
+Bondy, <a href="#Page_315">315</a>.<br />
+<br />
+Bordeaux, <a href="#Page_151">151</a>, <a href="#Page_154">154</a>, <a href="#Page_159">159</a>, <a href="#Page_342">342</a>.<br />
+<br />
+Borgias, The, <a href="#Page_372">372</a>.<br />
+<br />
+Boulevard des Italiens, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>, <a href="#Page_114">114</a>, <a href="#Page_187">187</a>, <a href="#Page_213">213</a>, <a href="#Page_231">231</a>.<br />
+<br />
+Boulevard du Prince Eug&egrave;ne, <a href="#Page_140">140</a>.<br />
+<br />
+Boulevard Henri Quatre, <a href="#Page_285">285</a>.<br />
+<br />
+Boulevard Magenta, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Boulevard Malesherbes, <a href="#Page_103">103</a>, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Boulevard Raspail, <a href="#Page_252">252</a>.<br />
+<br />
+Boulevard Sebastopol, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Boulevard St. Denis, <a href="#Page_135">135</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Boulevard St. Germain, <a href="#Page_128">128</a>, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>, <a href="#Page_252">252</a>.<br />
+<br />
+Boulevard St. Martin, <a href="#Page_135">135</a>, <a href="#Page_147">147</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Boulogne, <a href="#Page_160">160</a>.<br />
+<br />
+Bourges, <a href="#Page_155">155</a>.<br />
+<br />
+Bourg, L&#8217;Abb&eacute;, <a href="#Page_130">130</a>.<br />
+<br />
+Bourgogne, <a href="#Page_105">105</a>.<br />
+<br />
+Bourse, The, <a href="#Page_89">89</a>, <a href="#Page_91">91</a>.<br />
+<br />
+Brabant, Duc de, <a href="#Page_365">365</a>.<br />
+<br />
+Brentano, <a href="#Page_360">360</a>.<br />
+<br />
+Brest, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>, <a href="#Page_160">160</a>.<br />
+<br />
+Breteuil, De, <a href="#Page_296">296</a>.<br />
+<br />
+Bridges:<br />
+<span style="margin-left: 1em;">Cahors, <a href="#Page_172">172</a>.</span><br />
+<span style="margin-left: 1em;">Lyons, <a href="#Page_172">172</a>.</span><br />
+<span style="margin-left: 1em;">Orthos, <a href="#Page_172">172</a>.</span><br />
+<span style="margin-left: 1em;">St. B&eacute;nezet d&#8217;Avignon, <a href="#Page_172">172</a>.</span><br />
+<span style="margin-left: 1em;">See under <a href="#pont">Pont</a> also.</span><br />
+<span class="pagenum"><a name="Page_379" id="Page_379">[Pg 379]</a></span><br />
+Brillat-Savarin, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>.<br />
+<br />
+Brinvilliers, Marquise de, <a href="#Page_286">286</a>, <a href="#Page_287">287</a>.<br />
+<br />
+Brionze, <a href="#Page_79">79</a>.<br />
+<br />
+Brittany, <a href="#Page_327">327</a>, <a href="#Page_328">328</a>.<br />
+<br />
+Broggi, Paolo, <a href="#Page_118">118</a>.<br />
+<br />
+Brown, Sir Thomas, <a href="#Page_142">142</a>.<br />
+<br />
+Brozier, <a href="#Page_31">31</a>.<br />
+<br />
+Brussels, <a href="#Page_44">44</a>, <a href="#Page_76">76</a>.<br />
+<br />
+&#8220;Bruyere aux Loups,&#8221; <a href="#Page_23">23</a>.<br />
+<br />
+Buckingham, <a href="#Page_322">322</a>.<br />
+<br />
+Buckle, <a href="#Page_96">96</a>.<br />
+<br />
+Bureau d&#8217;Orleans, <a href="#Page_8">8</a>, <a href="#Page_31">31</a>, <a href="#Page_58">58</a>, <a href="#Page_84">84</a>, <a href="#Page_187">187</a>.<br />
+<br />
+Burns, <a href="#Page_43">43</a>.<br />
+<br />
+Bussy, <a href="#Page_333">333</a>.<br />
+<br />
+Buttes Chaumont, <a href="#Page_190">190</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Byron, <a href="#Page_43">43</a>.<br />
+<br />
+<br />
+&#8220;Cachot de Marie Antoinette,&#8221; <a href="#Page_238">238</a>.<br />
+<br />
+Caderousse, <a href="#Page_347">347</a>, <a href="#Page_349">349</a>.<br />
+<br />
+Caen, <a href="#Page_326">326</a>.<br />
+<br />
+Caf&eacute; de Paris, <a href="#Page_111">111</a>, <a href="#Page_187">187</a>, <a href="#Page_189">189</a>.<br />
+<br />
+Caf&eacute; des Anglais, <a href="#Page_118">118</a>.<br />
+<br />
+Caf&eacute; du Roi, <a href="#Page_18">18</a>.<br />
+<br />
+Caf&eacute; Riche, <a href="#Page_118">118</a>.<br />
+<br />
+Cagliostro, <a href="#Page_295">295</a>, <a href="#Page_296">296</a>.<br />
+<br />
+Cahors, <a href="#Page_351">351</a>.<br />
+<br />
+Cahors, Bridge of, <a href="#Page_172">172</a>.<br />
+<br />
+Calais, <a href="#Page_159">159</a>, <a href="#Page_160">160</a>, <a href="#Page_321">321-324</a>, <a href="#Page_327">327</a>.<br />
+<br />
+Calcutta, <a href="#Page_76">76</a>.<br />
+<br />
+Calixtus II., <a href="#Page_198">198</a>.<br />
+<br />
+Cambac&eacute;r&egrave;s, Delphine, <a href="#Page_82">82</a>.<br />
+<br />
+Canebi&egrave;re, The, <a href="#Page_342">342</a>.<br />
+<br />
+Cantal, <a href="#Page_321">321</a>.<br />
+<br />
+Capetians, The, <a href="#Page_194">194</a>.<br />
+<br />
+&#8220;Capitaine Pamphile,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Capitaine Paul&#8221; (Paul Jones), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Carcassonne, <a href="#Page_139">139</a>.<br />
+<br />
+Carlyle, <a href="#Page_69">69</a>.<br />
+<br />
+Carmelite Friary, <a href="#Page_246">246</a>, <a href="#Page_252">252</a>.<br />
+<br />
+&#8220;Caserne Napoleon,&#8221; <a href="#Page_140">140</a>.<br />
+<br />
+Caspian Sea, The, <a href="#Page_44">44</a>.<br />
+<br />
+Castle of Angers, <a href="#Page_333">333</a>.<br />
+<br />
+Castle of Pierrefonds, <a href="#Page_324">324</a>.<br />
+<br />
+Cathedral de N&ocirc;tre Dame (Chartres), <a href="#Page_329">329</a>.<br />
+<br />
+Cathedral of N&ocirc;tre Dame de Rouen, <a href="#Page_187">187</a>.<br />
+<br />
+&#8220;Catriona&#8221; (Stephenson), <a href="#Page_361">361</a>.<br />
+<br />
+Caucasus, <a href="#Page_8">8</a>.<br />
+<br />
+&#8220;Causeries,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Caussidi&egrave;re, Marc, <a href="#Page_178">178</a>, <a href="#Page_179">179</a>.<br />
+<br />
+Cavaignac, General, <a href="#Page_179">179</a>.<br />
+<br />
+Ceinture Railway, <a href="#Page_89">89</a>, <a href="#Page_303">303</a>.<br />
+<br />
+Cenci, The, <a href="#Page_285">285</a>.<br />
+<br />
+Chaffault, De, <a href="#Page_46">46</a>.<br />
+<br />
+Ch&acirc;let de Monte Cristo, see <a href="#residences">Residences of Dumas</a>.<br />
+<br />
+Ch&acirc;lons, <a href="#Page_359">359</a>.<br />
+<br />
+Chambord, <a href="#Page_332">332</a>.<br />
+<br />
+Chambre des D&eacute;put&eacute;s, <a href="#Page_8">8</a>, <a href="#Page_138">138</a>, <a href="#Page_167">167</a>, <a href="#Page_187">187</a>.<br />
+<br />
+Champs Elys&eacute;es, <a href="#Page_95">95</a>, <a href="#Page_136">136</a>, <a href="#Page_150">150</a>.<br />
+<br />
+Changarnier, General, <a href="#Page_181">181</a>.<br />
+<br />
+Chanlecy, Charlotte Anne de, <a href="#Page_50">50</a>.<br />
+<br />
+Chantilly, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>.<br />
+<br />
+Charenton, <a href="#Page_87">87</a>.<br />
+<br />
+Charlemagne, <a href="#Page_129">129</a>, <a href="#Page_193">193</a>.<br />
+<br />
+Charles I., <a href="#Page_267">267</a>.<br />
+<br />
+Charles VI., <a href="#Page_315">315</a>, <a href="#Page_325">325</a>.<br />
+<br />
+Charles VII., <a href="#Page_131">131</a>.<br />
+<br />
+Charles VIII., <a href="#Page_132">132</a>.<br />
+<br />
+Charles IX., <a href="#Page_133">133</a>, <a href="#Page_212">212</a>, <a href="#Page_217">217</a>, <a href="#Page_236">236</a>, <a href="#Page_253">253</a>, <a href="#Page_263">263</a>, <a href="#Page_311">311</a>, <a href="#Page_320">320</a>, <a href="#Page_333">333</a>.<br />
+<br />
+Charles X., <a href="#Page_156">156</a>, <a href="#Page_270">270</a>.<br />
+<br />
+Charles-le-T&eacute;m&eacute;raire, <a href="#Page_215">215</a>.<br />
+<br />
+Charpillon, M., <a href="#Page_8">8</a>.<br />
+<br />
+Chartres, <a href="#Page_329">329</a>, <a href="#Page_330">330</a>.<br />
+<br />
+Chartres, Cathedral de N&ocirc;tre Dame, <a href="#Page_329">329</a>.<br />
+<br />
+Chartres, Duc de (Philippe d&#8217;Orleans), <a href="#Page_267">267</a>.<br />
+<br />
+Chateaubriand, <a href="#Page_68">68</a>, <a href="#Page_147">147</a>.<br />
+<span class="pagenum"><a name="Page_380" id="Page_380">[Pg 380]</a></span><br />
+Ch&acirc;teau de Blois, <a href="#Page_330">330</a>, <a href="#Page_331">331</a>.<br />
+<br />
+Ch&acirc;teau d&#8217;If, <a href="#Page_45">45</a>, <a href="#Page_339">339</a>, <a href="#Page_340">340</a>, <a href="#Page_343">343</a>, <a href="#Page_347">347</a>.<br />
+<br />
+Ch&acirc;teau de Rambouillet, <a href="#Page_315">315</a>.<br />
+<br />
+Ch&acirc;teau de Rocca Petrella, <a href="#Page_285">285</a>.<br />
+<br />
+Ch&acirc;teau de Vincennes, <a href="#Page_319">319</a>, <a href="#Page_320">320</a>.<br />
+<br />
+Ch&acirc;teau of Madrid, <a href="#Page_298">298</a>, <a href="#Page_319">319</a>.<br />
+<br />
+Ch&acirc;teau Neuf, <a href="#Page_303">303</a>, <a href="#Page_312">312</a>, <a href="#Page_313">313</a>.<br />
+<br />
+Chateaurien, Ren&eacute; de, <a href="#Page_319">319</a>.<br />
+<br />
+Ch&acirc;telet du Monte Cristo, <a href="#Page_303">303</a>.<br />
+<br />
+Chatillon-sur-Seine, <a href="#Page_169">169</a>.<br />
+<br />
+Ch&eacute;nier, Andr&eacute;, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>.<br />
+<br />
+Cherbourg, <a href="#Page_160">160</a>.<br />
+<br />
+&#8220;Cherubino et Celestine,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Cheval de Bronze,&#8221; <a href="#Page_172">172</a>.<br />
+<br />
+&#8220;Chevalier d&#8217;Harmental,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Chicot the Jester&#8221; (&#8220;La Dame de Monsoreau&#8221;), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Childebert, <a href="#Page_129">129</a>, <a href="#Page_212">212</a>.<br />
+<br />
+Child&eacute;rie, <a href="#Page_129">129</a>.<br />
+<br />
+Chopin, <a href="#Page_82">82</a>.<br />
+<br />
+Christine of Sweden, <a href="#Page_123">123</a>.<br />
+<br />
+Churches, see under <a href="#eglise">&Eacute;glise</a>.<br />
+<br />
+Cimeti&egrave;re des Innocents, <a href="#Page_197">197</a>, <a href="#Page_221">221</a>.<br />
+<br />
+Cimeti&egrave;re P&egrave;re la Chaise, see <a href="#lachaise">P&egrave;re la Chaise</a>.<br />
+<br />
+Cinq-Mars, <a href="#Page_224">224</a>.<br />
+<br />
+Civil War, The, <a href="#Page_50">50</a>.<br />
+<br />
+Claremont, <a href="#Page_180">180</a>.<br />
+<br />
+Cl&eacute;ment-Thomas, Gen., <a href="#Page_227">227</a>.<br />
+<br />
+Clovis, <a href="#Page_129">129</a>.<br />
+<br />
+&#8220;Clymnestre,&#8221; <a href="#Page_19">19</a>.<br />
+<br />
+&#8220;Coches d&#8217;Eau,&#8221; <a href="#Page_156">156</a>.<br />
+<br />
+Coconnas, <a href="#Page_173">173</a>.<br />
+<br />
+Coligny, <a href="#Page_260">260</a>.<br />
+<br />
+Coligny, <i>fils</i>, <a href="#Page_224">224</a>.<br />
+<br />
+Coll&egrave;ge des Quatre Nations, <a href="#Page_135">135</a>, <a href="#Page_173">173</a>.<br />
+<br />
+&#8220;Colomba,&#8221; <a href="#Page_368">368</a>.<br />
+<br />
+Colonne de Juillet, <a href="#Page_88">88</a>.<br />
+<br />
+Com&eacute;die Fran&ccedil;aise, <a href="#Page_190">190</a>.<br />
+<br />
+&#8220;<i>Commission des Monuments Historiques</i>,&#8221; <a href="#Page_278">278</a>.<br />
+<br />
+&#8220;<i>Commission du Vieux Paris</i>,&#8221; <a href="#Page_193">193</a>.<br />
+<br />
+Commune, The, <a href="#Page_185">185</a>, <a href="#Page_192">192</a>, <a href="#Page_196">196</a>, <a href="#Page_227">227</a>, <a href="#Page_263">263</a>, <a href="#Page_264">264</a>.<br />
+<br />
+&#8220;Compagnie G&eacute;n&eacute;rale des Omnibus,&#8221; <a href="#Page_153">153</a>.<br />
+<br />
+Compi&egrave;gne, <a href="#Page_24">24</a>, <a href="#Page_46">46</a>, <a href="#Page_246">246</a>, <a href="#Page_286">286</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_317">317-319</a>.<br />
+<br />
+&#8220;Comtesse de Charny,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Conciergerie, <a href="#Page_92">92</a>, <a href="#Page_236">236</a>, <a href="#Page_238">238</a>, <a href="#Page_240">240</a>, <a href="#Page_241">241</a>, <a href="#Page_263">263</a>, <a href="#Page_286">286</a>.<br />
+<br />
+Cond&eacute;, <a href="#Page_224">224</a>, <a href="#Page_320">320</a>.<br />
+<br />
+Conflans-Charenton, <a href="#Page_171">171</a>.<br />
+<br />
+Contades, Count G. de, <a href="#Page_79">79</a>.<br />
+<br />
+Conti, Prince de, <a href="#Page_90">90</a>.<br />
+<br />
+Corneille, <a href="#Page_224">224</a>.<br />
+<br />
+Corot, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>, <a href="#Page_191">191</a>.<br />
+<br />
+Corsica, <a href="#Page_8">8</a>, <a href="#Page_337">337</a>, <a href="#Page_351">351</a>, <a href="#Page_367">367</a>.<br />
+<br />
+&#8220;Corsican Brothers,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Cosne, <a href="#Page_155">155</a>.<br />
+<br />
+Couloir St. Hyacinthe, <a href="#Page_228">228</a>.<br />
+<br />
+Courbevoie, <a href="#Page_314">314</a>.<br />
+<br />
+Cour du Justice, <a href="#Page_241">241</a>.<br />
+<br />
+&#8220;Count of Monte Cristo,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Cours la Reine, <a href="#Page_133">133</a>.<br />
+<br />
+Cr&eacute;py-en-Valois, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_24">24</a>, <a href="#Page_46">46</a>, <a href="#Page_83">83</a>, <a href="#Page_315">315</a>, <a href="#Page_317">317</a>, <a href="#Page_318">318</a>, <a href="#Page_321">321</a>.<br />
+<br />
+&#8220;Crimes C&eacute;l&egrave;bres&#8221; (&#8220;Celebrated Crimes&#8221;), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Cul-de-sac des Marchands des Chevaux, <a href="#Page_286">286</a>.<br />
+<br />
+&#8220;Cyrano de Bergerac,&#8221; <a href="#Page_43">43</a>.<br />
+<br />
+<br />
+Dammartin, <a href="#Page_16">16</a>, <a href="#Page_24">24</a>, <a href="#Page_317">317</a>.<br />
+<br />
+Damploux, <a href="#Page_24">24</a>.<br />
+<br />
+Danglars, Baron, <a href="#Page_109">109</a>, <a href="#Page_231">231</a>, <a href="#Page_261">261</a>.<br />
+<span class="pagenum"><a name="Page_381" id="Page_381">[Pg 381]</a></span><br />
+Dant&egrave;s, <a href="#Page_229">229</a>, <a href="#Page_231">231</a>, <a href="#Page_328">328</a>, <a href="#Page_344">344</a>, <a href="#Page_346">346</a>, <a href="#Page_347">347</a>, <a href="#Page_355">355</a>.<br />
+<br />
+Darnley, <a href="#Page_324">324</a>.<br />
+<br />
+Daubonne, <a href="#Page_214">214</a>.<br />
+<br />
+Daudet, <a href="#Page_3">3</a>, <a href="#Page_349">349</a>.<br />
+<br />
+David, <a href="#Page_82">82</a>.<br />
+<br />
+&#8220;David Copperfield,&#8221; <a href="#Page_34">34</a>.<br />
+<br />
+D&#8217;Al&eacute;gres, The, <a href="#Page_224">224</a>.<br />
+<br />
+D&#8217;Angers, David, <a href="#Page_82">82</a>.<br />
+<br />
+D&#8217;Anjou, Duc, <a href="#Page_365">365</a>.<br />
+<br />
+D&#8217;Aramitz, Henry, see <a href="#aramis">Aramis</a>.<br />
+<br /><a name="dartagnan" id="dartagnan"></a>
+D&#8217;Artagnan, <a href="#Page_45">45</a>, <a href="#Page_48">48-50</a>, <a href="#Page_56">56</a>, <a href="#Page_127">127</a>, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>, <a href="#Page_206">206</a>, <a href="#Page_214">214</a>, <a href="#Page_223">223</a>, <a href="#Page_225">225</a>, <a href="#Page_245">245-247</a>, <a href="#Page_252">252</a>, <a href="#Page_267">267</a>, <a href="#Page_313">313</a>, <a href="#Page_328">328</a>, <a href="#Page_329">329</a>.<br />
+<br />
+D&#8217;Artagnan Romances, <a href="#Page_148">148</a>, <a href="#Page_171">171</a>, <a href="#Page_195">195</a>, <a href="#Page_205">205</a>, <a href="#Page_215">215</a>, <a href="#Page_225">225</a>, <a href="#Page_235">235</a>, <a href="#Page_247">247</a>, <a href="#Page_254">254</a>, <a href="#Page_266">266</a>, <a href="#Page_312">312</a>, <a href="#Page_330">330</a>, <a href="#Page_331">331</a>.<br />
+<br />
+D&#8217;Augennes, Jacques, <a href="#Page_315">315</a>.<br />
+<br />
+D&#8217;Augennes, Regnault, <a href="#Page_315">315</a>.<br />
+<br />
+D&#8217;Aumale, <a href="#Page_323">323</a>.<br />
+<br />
+De Batz, Baron, <a href="#Page_50">50</a>.<br />
+<br />
+De Batz de Castlemore, Charles, see <a href="#dartagnan">D&#8217;Artagnan</a>.<br />
+<br />
+De Bauville, Theodore, <a href="#Page_51">51</a>.<br />
+<br />
+De Bellune, Duc, <a href="#Page_84">84</a>.<br />
+<br />
+De Berry, Duchesse, <a href="#Page_152">152</a>.<br />
+<br />
+De Beuzeval, Horace, <a href="#Page_371">371</a>.<br />
+<br />
+De Boissy, Adrien, <a href="#Page_255">255</a>, <a href="#Page_256">256</a>.<br />
+<br />
+De Brabant, Duc, <a href="#Page_365">365</a>.<br />
+<br />
+De Breteuil, <a href="#Page_296">296</a>.<br />
+<br />
+De Brinvilliers, Marquise, <a href="#Page_286">286</a>, <a href="#Page_287">287</a>.<br />
+<br />
+De Chaffault, <a href="#Page_46">46</a>.<br />
+<br />
+De Chanlecy, Charlotte Anne, <a href="#Page_50">50</a>.<br />
+<br />
+De Chartres, Duc (Philippe d&#8217;Orleans), <a href="#Page_267">267</a>.<br />
+<br />
+De Chateaurien, Ren&eacute;, <a href="#Page_319">319</a>.<br />
+<br />
+De Contades, Count G., <a href="#Page_79">79</a>.<br />
+<br />
+De Conti, Prince, <a href="#Page_90">90</a>.<br />
+<br />
+D&#8217;Enghien, Duc, <a href="#Page_320">320</a>.<br />
+<br />
+D&#8217;Estr&eacute;es, Gabrielle, <a href="#Page_228">228</a>, <a href="#Page_260">260</a>.<br />
+<br />
+De Flesselles, <a href="#Page_196">196</a>.<br />
+<br />
+De France, Henriette, <a href="#Page_267">267</a>.<br />
+<br />
+De Franchi, <a href="#Page_213">213</a>, <a href="#Page_232">232</a>, <a href="#Page_255">255</a>, <a href="#Page_367">367</a>.<br />
+<br />
+De Franchi, Louis, <a href="#Page_319">319</a>.<br />
+<br />
+De Genlis, Madame, <a href="#Page_363">363</a>.<br />
+<br />
+De Guise, Cardinal, <a href="#Page_323">323</a>.<br />
+<br />
+De Guise, Duc, <a href="#Page_224">224</a>, <a href="#Page_253">253</a>, <a href="#Page_278">278</a>, <a href="#Page_301">301</a>, <a href="#Page_323">323</a>.<br />
+<br />
+De Guise, Duchesse, <a href="#Page_122">122</a>, <a href="#Page_323">323</a>.<br />
+<br />
+De Jallais, Am&eacute;d&eacute;e, <a href="#Page_232">232</a>.<br />
+<br />
+De Joyeuse, Admiral, <a href="#Page_365">365</a>.<br />
+<br />
+De la Mole, <a href="#Page_212">212</a>.<br />
+<br />
+De la Motte, Madame, <a href="#Page_228">228</a>, <a href="#Page_241">241</a>, <a href="#Page_307">307</a>.<br />
+<br />
+De Launay, <a href="#Page_284">284</a>.<br />
+<br />
+De Leuven, Adolphe, <a href="#Page_14">14</a>, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>.<br />
+<br />
+De Lesdequieres, Duchesse, <a href="#Page_293">293</a>.<br />
+<br />
+De Longueville, Madame, <a href="#Page_224">224</a>.<br />
+<br />
+De Marsillac, Prince, <a href="#Page_90">90</a>.<br />
+<br />
+De Mauge, Marquis, <a href="#Page_214">214</a>.<br />
+<br />
+De Maupassant, Guy, <a href="#Page_228">228</a>.<br />
+<br />
+De Medici, Marie, <a href="#Page_133">133</a>, <a href="#Page_224">224</a>, <a href="#Page_260">260</a>.<br />
+<br />
+De Medici, Catherine, <a href="#Page_208">208</a>, <a href="#Page_212">212</a>, <a href="#Page_264">264</a>.<br />
+<br />
+De Merle, <a href="#Page_18">18</a>.<br />
+<br />
+De Meulien, Pauline, <a href="#Page_371">371</a>.<br />
+<br />
+De Montford, Comtes, <a href="#Page_315">315</a>.<br />
+<br />
+De Montmorenci, Duc, <a href="#Page_255">255</a>.<br />
+<br />
+De Montpensier, Duc, <a href="#Page_45">45</a>.<br />
+<br />
+De Morcerf, Albert, <a href="#Page_369">369</a>.<br />
+<br />
+De Morcerf, Madame, <a href="#Page_358">358</a>.<br />
+<br />
+De Musset, Alfred, <a href="#Page_68">68</a>, <a href="#Page_82">82</a>, <a href="#Page_95">95</a>, <a href="#Page_123">123</a>.<br />
+<br />
+De Nemours, M., <a href="#Page_323">323</a>.<br />
+<br />
+De Nerval, Gerard, <a href="#Page_123">123</a>.<br />
+<br />
+De Nevers, Duchesse, <a href="#Page_197">197</a>.<br />
+<br />
+D&#8217;Orleans, Louis, <a href="#Page_324">324</a>.<br />
+<br />
+De Poissy, G&eacute;rard, <a href="#Page_130">130</a>.<br />
+<br />
+De Poitiers, Diane, <a href="#Page_260">260</a>.<br />
+<br />
+De Portu, Jean, see <a href="#porthos">Porthos</a>.<br />
+<br />
+De Retz, Cardinal, <a href="#Page_320">320</a>.<br />
+<br />
+De Richelieu, see <a href="#richelieu">Richelieu</a>.<br />
+<br />
+De Rohan, <a href="#Page_37">37</a>, <a href="#Page_224">224</a>.<br />
+<span class="pagenum"><a name="Page_382" id="Page_382">[Pg 382]</a></span><br />
+De S&eacute;vign&eacute;, Madame, <a href="#Page_102">102</a>, <a href="#Page_223">223</a>.<br />
+<br />
+De Sillegue, Colonel, <a href="#Page_49">49</a>.<br />
+<br />
+De Sillegue d&#8217;Athos, Armand, see <a href="#athos">Athos</a>.<br />
+<br />
+De Sorbonne, Robert, <a href="#Page_244">244</a>.<br />
+<br />
+De Ste. Croix, Gaudin, <a href="#Page_286">286</a>.<br />
+<br />
+De Talleyrand, Henri, <a href="#Page_214">214</a>.<br />
+<br />
+De Treville, <a href="#Page_49">49</a>, <a href="#Page_246">246</a>, <a href="#Page_251">251</a>.<br />
+<br />
+De Valois, see under <a href="#valois">Valois</a>.<br />
+<br />
+De Vigny, <a href="#Page_68">68</a>.<br />
+<br />
+De Villefort, <a href="#Page_261">261</a>, <a href="#Page_340">340</a>.<br />
+<br />
+De Villemessant, <a href="#Page_52">52</a>.<br />
+<br />
+De Volterre, Ricciarelli, <a href="#Page_224">224</a>.<br />
+<br />
+De Wardes, <a href="#Page_322">322</a>.<br />
+<br />
+De Windt, Cornelius, <a href="#Page_361">361</a>.<br />
+<br />
+De Windt, Jacobus, <a href="#Page_361">361</a>.<br />
+<br />
+De Winter, Lady, <a href="#Page_223">223</a>.<br />
+<br />
+Debret, <a href="#Page_117">117</a>.<br />
+<br />
+Decamps, <a href="#Page_191">191</a>.<br />
+<br />
+Delacroix, <a href="#Page_73">73</a>, <a href="#Page_82">82</a>, <a href="#Page_97">97</a>, <a href="#Page_191">191</a>.<br />
+<br />
+Delavigne, <a href="#Page_18">18</a>, <a href="#Page_82">82</a>.<br />
+<br />
+Delrien, <a href="#Page_18">18</a>.<br />
+<br />
+Demidoff, Prince, <a href="#Page_189">189</a>.<br />
+<br />
+&#8220;Dernier Jour d&#8217;un Condamn&eacute;,&#8221; <a href="#Page_239">239</a>.<br />
+<br />
+D&eacute;saugiers, <a href="#Page_31">31</a>.<br />
+<br />
+Desbordes-Valmore, Madame, <a href="#Page_70">70</a>.<br />
+<br />
+D&eacute;scamps, Gabriel, <a href="#Page_221">221</a>.<br />
+<br />
+Desmoulins, Camille, <a href="#Page_268">268</a>.<br />
+<br />
+Dibdin, <a href="#Page_150">150</a>.<br />
+<br />
+Dickens, Charles, <a href="#Page_34">34</a>.<br />
+<br />
+&#8220;Dictionnaire de Cuisine,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Dieppe, <a href="#Page_8">8</a>, <a href="#Page_66">66</a>.<br />
+<br />
+&#8220;Director of Evacuations at Naples,&#8221; <a href="#Page_45">45</a>, <a href="#Page_57">57</a>.<br />
+<br />
+&#8220;Dix-huit Mois &agrave; St. Petersburgh,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Don Quixote, <a href="#Page_245">245</a>.<br />
+<br />
+Dor&eacute;, Gustave, <a href="#Page_123">123</a>, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Douai, <a href="#Page_49">49</a>.<br />
+<br />
+Dover, <a href="#Page_154">154</a>, <a href="#Page_322">322</a>.<br />
+<br />
+<i>Drapeau Blanc</i>, <a href="#Page_31">31</a>.<br />
+<br />
+Ducercen, <a href="#Page_313">313</a>.<br />
+<br />
+Ducis, <a href="#Page_121">121</a>.<br />
+<br />
+Dujarrier-Beauvallon, <a href="#Page_75">75-77</a>.<br />
+<br />
+Dumas:<br />
+<span style="margin-left: 1em;">Monuments to, see under <a href="#monuments">Monuments</a>.</span><br />
+<span style="margin-left: 1em;">Residences of, see under <a href="#residences">Residences</a>.</span><br />
+<span style="margin-left: 1em;">Title of, see under <a href="#title">Title</a>.</span><br />
+<span style="margin-left: 1em;">Travels of, see under <a href="#travels">Travels</a>.</span><br />
+<span style="margin-left: 1em;">Works of, see under <a href="#works">Works</a>.</span><br />
+<br /><a name="dumas" id="dumas"></a>
+Dumas, General, Marquis de la Pailleterie, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_47">47</a>.<br />
+<br />
+Dumas, <i>fils</i>, <a href="#Page_64">64</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>, <a href="#Page_81">81</a>, <a href="#Page_121">121</a>, <a href="#Page_124">124</a>.<br />
+<br />
+Duprez, <a href="#Page_117">117</a>.<br />
+<br />
+<br />
+&Eacute;cole des Beaux Arts, <a href="#Page_244">244</a>.<br />
+<br />
+&Eacute;cole de Droit, <a href="#Page_136">136</a>, <a href="#Page_183">183</a>, <a href="#Page_244">244</a>.<br />
+<br />
+&Eacute;cole de M&eacute;dicine, <a href="#Page_244">244</a>.<br />
+<br />
+&#8220;&Eacute;cole des Viellards,&#8221; <a href="#Page_18">18</a>.<br />
+<br />
+&Eacute;cole Militaire, <a href="#Page_136">136</a>.<br />
+<br />
+Edict of Nantes, <a href="#Page_334">334</a>.<br />
+<br /><a name="eglise" id="eglise"></a>
+&Eacute;glise de la Madeleine, <a href="#Page_88">88</a>, <a href="#Page_138">138</a>, <a href="#Page_149">149</a>, <a href="#Page_153">153</a>.<br />
+<br />
+&Eacute;glise de Notre Dame, <a href="#Page_86">86</a>, <a href="#Page_129">129</a>, <a href="#Page_167">167</a>, <a href="#Page_198">198</a>, <a href="#Page_235">235</a>, <a href="#Page_263">263</a>, <a href="#Page_286">286</a>.<br />
+<br />
+&Eacute;glise de St. Gervais, <a href="#Page_132">132</a>.<br />
+<br />
+&Eacute;glise de St. Merry, <a href="#Page_132">132</a>.<br />
+<br />
+&Eacute;glise de St. Paul et St. Louis, <a href="#Page_133">133</a>.<br />
+<br />
+&Eacute;glise St. Etienne du Mont, <a href="#Page_167">167</a>, <a href="#Page_253">253</a>, <a href="#Page_254">254</a>.<br />
+<br />
+&Eacute;glise St. Eustache, <a href="#Page_192">192</a>.<br />
+<br />
+&Eacute;glise St. Germain l&#8217;Auxerrois, <a href="#Page_132">132</a>, <a href="#Page_212">212</a>, <a href="#Page_260">260</a>.<br />
+<br />
+&Eacute;glise St. Innocents, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_223">223</a>.<br />
+<br />
+&Eacute;glise St. Jacques, <a href="#Page_198">198</a>.<br />
+<br />
+&Eacute;glise St. Roch, <a href="#Page_134">134</a>.<br />
+<br />
+&Eacute;glise St. Severin, <a href="#Page_167">167</a>.<br />
+<br />
+&Eacute;glise St. Sulpice, <a href="#Page_167">167</a>.<br />
+<br />
+&#8220;Eighteen Months at St. Petersburg,&#8221; <a href="#Page_367">367</a>.<br />
+<span class="pagenum"><a name="Page_383" id="Page_383">[Pg 383]</a></span><br />
+Elba, <a href="#Page_25">25</a>, <a href="#Page_219">219</a>, <a href="#Page_337">337</a>.<br />
+<br />
+Elizabeth, <a href="#Page_365">365</a>.<br />
+<br />
+Elys&eacute;e, The, <a href="#Page_25">25</a>, <a href="#Page_103">103</a>.<br />
+<br />
+Enghien, Duc d&#8217;, <a href="#Page_320">320</a>.<br />
+<br />
+England, <a href="#Page_8">8</a>, <a href="#Page_50">50</a>.<br />
+<br />
+Epinac, <a href="#Page_160">160</a>.<br />
+<br />
+Ermenonville, <a href="#Page_24">24</a>.<br />
+<br />
+Esplanade des Invalides, <a href="#Page_150">150</a>.<br />
+<br />
+Estaminet du Divan, <a href="#Page_118">118</a>.<br />
+<br />
+Estr&eacute;es, Gabrielle d&#8217;, <a href="#Page_228">228</a>, <a href="#Page_260">260</a>.<br />
+<br />
+Etaples, <a href="#Page_372">372</a>.<br />
+<br />
+<br />
+&#8220;Fabrique des Romans,&#8221; <a href="#Page_38">38</a>.<br />
+<br />
+Falaise, <a href="#Page_326">326</a>.<br />
+<br />
+Faubourg St. Denis, <a href="#Page_220">220</a>.<br />
+<br />
+Faubourg St. Germain, <a href="#Page_83">83</a>, <a href="#Page_132">132</a>.<br />
+<br />
+Faubourg St. Honor&eacute;, <a href="#Page_83">83</a>.<br />
+<br />
+Fernand, <a href="#Page_261">261</a>.<br />
+<br />
+Ferry, Gabriel, <a href="#Page_233">233</a>.<br />
+<br />
+F&eacute;val, Paul, <a href="#Page_363">363</a>.<br />
+<br />
+<i>Figaro, The</i>, <a href="#Page_52">52</a>.<br />
+<br />
+Flanders, <a href="#Page_321">321</a>.<br />
+<br />
+Flaubert, Gustave, <a href="#Page_77">77</a>.<br />
+<br />
+Flesselles, De, <a href="#Page_196">196</a>.<br />
+<br />
+Fleury, General, <a href="#Page_76">76</a>.<br />
+<br />
+Florence, <a href="#Page_115">115</a>.<br />
+<br />
+Fontainebleau, <a href="#Page_155">155</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_300">300</a>, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>, <a href="#Page_315">315</a>.<br />
+<br />
+Fontaine des Innocents, <a href="#Page_145">145</a>, <a href="#Page_187">187</a>, <a href="#Page_193">193</a>, <a href="#Page_222">222</a>.<br />
+<br />
+For&ecirc;t de Compi&egrave;gne, <a href="#Page_318">318</a>, <a href="#Page_319">319</a>.<br />
+<br />
+For&ecirc;t de l&#8217;Aigue, <a href="#Page_286">286</a>.<br />
+<br />
+Forgues, <a href="#Page_363">363</a>.<br />
+<br />
+Fort de Vincennes, <a href="#Page_320">320</a>.<br />
+<br />
+Fort Lamalge, <a href="#Page_350">350</a>.<br />
+<br />
+&#8220;Forty-Five Guardsmen,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Fosses de la Bastille, <a href="#Page_137">137</a>.<br />
+<br />
+Fouqu&eacute;, <a href="#Page_360">360</a>.<br />
+<br />
+Fouquet, <a href="#Page_199">199</a>, <a href="#Page_289">289</a>, <a href="#Page_298">298</a>, <a href="#Page_300">300</a>, <a href="#Page_320">320</a>.<br />
+<br />
+Foy, General, <a href="#Page_31">31</a>, <a href="#Page_82">82</a>, <a href="#Page_84">84</a>.<br />
+<br />
+France, Henriette de, <a href="#Page_267">267</a>.<br />
+<br />
+Franchi, De, <a href="#Page_213">213</a>, <a href="#Page_232">232</a>, <a href="#Page_255">255</a>, <a href="#Page_367">367</a>.<br />
+<br />
+Franchi, Louis de, <a href="#Page_319">319</a>.<br />
+<br />
+Francis, <a href="#Page_18">18</a>.<br />
+<br />
+Fran&ccedil;ois I., <a href="#Page_131">131-134</a>, <a href="#Page_144">144</a>, <a href="#Page_197">197</a>, <a href="#Page_198">198</a>, <a href="#Page_260">260</a>, <a href="#Page_313">313</a>.<br />
+<br />
+Franco-Prussian War, <a href="#Page_57">57</a>, <a href="#Page_164">164</a>, <a href="#Page_192">192</a>.<br />
+<br />
+Fronde, <a href="#Page_89">89</a>.<br />
+<br />
+<br />
+&#8220;Gabriel Lambert,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Gaillardet, <a href="#Page_238">238</a>.<br />
+<br />
+Gare de l&#8217;Est, <a href="#Page_162">162</a>.<br />
+<br />
+Gare du Nord, <a href="#Page_162">162</a>.<br />
+<br />
+Gare St. Lazare, <a href="#Page_161">161</a>.<br />
+<br />
+Garibaldi, <a href="#Page_37">37</a>.<br />
+<br />
+Garnier, <a href="#Page_190">190</a>.<br />
+<br />
+Gascony, <a href="#Page_50">50</a>.<br />
+<br />
+Gaston of Orleans, <a href="#Page_331">331</a>.<br />
+<br />
+Gautier, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_123">123</a>.<br />
+<br />
+Gay, Mme. Delphine, <a href="#Page_70">70</a>.<br />
+<br />
+Genlis, Madame de, <a href="#Page_363">363</a>.<br />
+<br />
+&#8220;Georges,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Germany, <a href="#Page_8">8</a>, <a href="#Page_360">360</a>.<br />
+<br />
+Girondins, The, <a href="#Page_194">194</a>.<br />
+<br />
+Glinel, Charles, <a href="#Page_26">26</a>.<br />
+<br />
+Godot, <a href="#Page_151">151</a>.<br />
+<br />
+Goethe, <a href="#Page_68">68</a>, <a href="#Page_360">360</a>.<br />
+<br />
+&#8220;Golden Lion,&#8221; <a href="#Page_316">316</a>.<br />
+<br />
+Gondeville, <a href="#Page_24">24</a>.<br />
+<br />
+Gouff&eacute;, Armand, <a href="#Page_31">31</a>.<br />
+<br />
+Goujon, Jean, <a href="#Page_132">132</a>, <a href="#Page_223">223</a>, <a href="#Page_260">260</a>.<br />
+<br />
+Granger, Marie, <a href="#Page_327">327</a>.<br />
+<br />
+Grenelle, <a href="#Page_95">95</a>.<br />
+<br />
+Grisier, <a href="#Page_75">75</a>, <a href="#Page_367">367</a>.<br />
+<br />
+&#8220;Guido et G&eacute;nevra&#8221; (Hal&eacute;vy), <a href="#Page_54">54</a>.<br />
+<br />
+Guilbert, <a href="#Page_205">205</a>.<br />
+<br />
+Guise, Cardinal de, <a href="#Page_323">323</a>.<br />
+<br />
+Guise, Duc de, <a href="#Page_224">224</a>, <a href="#Page_253">253</a>, <a href="#Page_278">278</a>, <a href="#Page_301">301</a>, <a href="#Page_323">323</a>.<br />
+<br />
+Guise, Duchesse de, <a href="#Page_122">122</a>, <a href="#Page_323">323</a>.<br />
+<br />
+Guizot, <a href="#Page_69">69</a>.<br />
+<span class="pagenum"><a name="Page_384" id="Page_384">[Pg 384]</a></span><br />
+<br />
+Hal&eacute;vy, <a href="#Page_54">54</a>, <a href="#Page_70">70</a>, <a href="#Page_117">117</a>.<br />
+<br />
+Hamerton, Philip Gilbert, <a href="#Page_168">168</a>.<br />
+<br />
+Hamilton, <a href="#Page_324">324</a>.<br />
+<br />
+&#8220;Hamlet,&#8221; <a href="#Page_121">121</a>.<br />
+<br />
+Haramont, <a href="#Page_23">23</a>.<br />
+<br />
+Hautes-Pyr&eacute;n&eacute;es, <a href="#Page_49">49</a>.<br />
+<br />
+Havre, <a href="#Page_150">150</a>, <a href="#Page_160">160</a>, <a href="#Page_169">169</a>, <a href="#Page_179">179</a>, <a href="#Page_180">180</a>, <a href="#Page_326">326</a>.<br />
+<br />
+Henri I., <a href="#Page_323">323</a>.<br />
+<br />
+Henri II., <a href="#Page_132">132</a>, <a href="#Page_172">172</a>, <a href="#Page_303">303</a>, <a href="#Page_312">312</a>, <a href="#Page_323">323</a>.<br />
+<br />
+Henri III., <a href="#Page_122">122</a>, <a href="#Page_133">133</a>, <a href="#Page_172">172</a>, <a href="#Page_323">323</a>, <a href="#Page_333">333</a>.<br />
+<br />
+Henri IV., <a href="#Page_133">133</a>, <a href="#Page_134">134</a>, <a href="#Page_143">143</a>, <a href="#Page_217">217</a>, <a href="#Page_224">224</a>, <a href="#Page_235">235</a>, <a href="#Page_236">236</a>, <a href="#Page_260">260</a>, <a href="#Page_303">303</a>, <a href="#Page_312">312</a>, <a href="#Page_320">320</a>, <a href="#Page_323">323</a>, <a href="#Page_351">351</a>, <a href="#Page_354">354</a>.<br />
+<br />
+Henri V., <a href="#Page_181">181</a>.<br />
+<br />
+&#8220;Henri III. et Sa Cour,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Hernani,&#8221; <a href="#Page_122">122</a>.<br />
+<br />
+Herold, <a href="#Page_82">82</a>.<br />
+<br />
+Hesdin, <a href="#Page_372">372</a>.<br />
+<br />
+&#8220;Histoire de Jules C&eacute;sar&#8221; (Napoleon III.), <a href="#Page_73">73</a>.<br />
+<br />
+&#8220;Histoire des Prisons de Paris,&#8221; <a href="#Page_238">238</a>.<br />
+<br />
+&#8220;History of Civilization&#8221; (Buckle), <a href="#Page_96">96</a>.<br />
+<br />
+Hoffman, <a href="#Page_360">360</a>.<br />
+<br />
+Honfleur, <a href="#Page_169">169</a>, <a href="#Page_179">179</a>.<br />
+<br />
+H&ocirc;pital des Petites Maisons, <a href="#Page_132">132</a>.<br />
+<br />
+H&ocirc;pital du St. Jacques du Haut Pas, <a href="#Page_133">133</a>.<br />
+<br />
+H&ocirc;tel Boulainvilliers, <a href="#Page_228">228</a>.<br />
+<br />
+H&ocirc;tel Chevreuse, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>, <a href="#Page_252">252</a>.<br />
+<br />
+H&ocirc;tel D&#8217;Artagnan, <a href="#Page_214">214</a>.<br />
+<br />
+H&ocirc;tel de Bourgogne, <a href="#Page_133">133</a>, <a href="#Page_215">215</a>.<br />
+<br />
+H&ocirc;tel de Choiseul, <a href="#Page_115">115</a>.<br />
+<br />
+H&ocirc;tel de Cluny, <a href="#Page_167">167</a>.<br />
+<br />
+H&ocirc;tel de Coligny, <a href="#Page_278">278</a>.<br />
+<br />
+H&ocirc;tel de Duc de Guise, <a href="#Page_278">278</a>.<br />
+<br />
+H&ocirc;tel de France, <a href="#Page_248">248</a>.<br />
+<br />
+H&ocirc;tel des Invalides, <a href="#Page_135">135</a>, <a href="#Page_149">149</a>, <a href="#Page_167">167</a>.<br />
+<br />
+&#8220;H&ocirc;tel de la Belle Etoile,&#8221; <a href="#Page_208">208</a>, <a href="#Page_212">212</a>.<br />
+<br />
+H&ocirc;tel de la Monnaie, <a href="#Page_136">136</a>, <a href="#Page_248">248</a>.<br />
+<br />
+H&ocirc;tel de Louvre, <a href="#Page_102">102</a>.<br />
+<br />
+H&ocirc;tel de Merc&oelig;ur, <a href="#Page_266">266</a>.<br />
+<br />
+H&ocirc;tel des Montmorencies, <a href="#Page_278">278</a>.<br />
+<br />
+H&ocirc;tel des Mousquetaires, <a href="#Page_207">207</a>, <a href="#Page_210">210</a>.<br />
+<br />
+H&ocirc;tel des Postes, <a href="#Page_154">154</a>.<br />
+<br />
+H&ocirc;tel de Soissons, <a href="#Page_133">133</a>.<br />
+<br />
+H&ocirc;tel de Venise, <a href="#Page_234">234</a>.<br />
+<br />
+H&ocirc;tel de Ville, <a href="#Page_132">132</a>, <a href="#Page_137">137</a>, <a href="#Page_191">191</a>, <a href="#Page_196">196</a>, <a href="#Page_197">197</a>, <a href="#Page_204">204</a>, <a href="#Page_318">318</a>.<br />
+<br />
+H&ocirc;tel du Vieux-Augustins, <a href="#Page_16">16</a>.<br />
+<br />
+H&ocirc;tel la Tr&eacute;mouille, <a href="#Page_251">251</a>.<br />
+<br />
+H&ocirc;tel Longueville, <a href="#Page_89">89</a>.<br />
+<br />
+&#8220;H&ocirc;tel Picardie,&#8221; <a href="#Page_214">214</a>.<br />
+<br />
+H&ocirc;tel Rambouillet, <a href="#Page_266">266</a>.<br />
+<br />
+H&ocirc;tel Richelieu, <a href="#Page_266">266</a>.<br />
+<br />
+Hugo, Victor, <a href="#Page_3">3</a>, <a href="#Page_37">37</a>, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>, <a href="#Page_73">73</a>, <a href="#Page_79">79</a>, <a href="#Page_82">82</a>, <a href="#Page_122">122</a>, <a href="#Page_127">127</a>, <a href="#Page_155">155</a>, <a href="#Page_156">156</a>, <a href="#Page_158">158</a>, <a href="#Page_223">223</a>, <a href="#Page_239">239</a>, <a href="#Page_363">363</a>.<br />
+<br />
+Hugo, P&egrave;re, <a href="#Page_82">82</a>.<br />
+<br />
+Huntley, <a href="#Page_324">324</a>.<br />
+<br />
+Hy&egrave;res, <a href="#Page_351">351</a>.<br />
+<br />
+<br />
+Ile de la Cit&eacute;, <a href="#Page_86">86</a>, <a href="#Page_131">131</a>, <a href="#Page_133">133</a>, <a href="#Page_165">165</a>, <a href="#Page_169">169</a>, <a href="#Page_172">172</a>, <a href="#Page_235">235</a>.<br />
+<br />
+Ile St. Louis, <a href="#Page_165">165</a>, <a href="#Page_169">169</a>.<br />
+<br />
+&#8220;Impressions du Voyage,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Inn of the Beautiful Peacock,&#8221; <a href="#Page_300">300</a>.<br />
+<br />
+Irving, Washington, <a href="#Page_41">41</a>.<br />
+<br />
+Island of Monte Cristo, <a href="#Page_338">338</a>.<br />
+<br />
+Isle of France (Mauritius), <a href="#Page_46">46</a>.<br />
+<br />
+Italy, <a href="#Page_8">8</a>, <a href="#Page_44">44</a>.<br />
+<br />
+Ivry, <a href="#Page_88">88</a>.<br />
+<span class="pagenum"><a name="Page_385" id="Page_385">[Pg 385]</a></span><br />
+<br />
+Jacquot, <a href="#Page_51">51</a>.<br />
+<br />
+Jallais, Am&eacute;d&eacute;e de, <a href="#Page_233">233</a>.<br />
+<br />
+James II., <a href="#Page_303">303</a>.<br />
+<br />
+Janin, Jules, <a href="#Page_363">363</a>.<br />
+<br />
+Jardin des Plantes, <a href="#Page_134">134</a>, <a href="#Page_149">149</a>.<br />
+<br />
+&#8220;Jeanne d&#8217;Arc,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Jean-sans-Peur, <a href="#Page_215">215</a>.<br />
+<br />
+Jerome, Prince, <a href="#Page_271">271</a>.<br />
+<br />
+Jerusalem, <a href="#Page_369">369</a>.<br />
+<br />
+Jesuit College, <a href="#Page_132">132</a>.<br />
+<br />
+&#8220;Jeune Malade,&#8221; <a href="#Page_205">205</a>.<br />
+<br />
+Joanna of Naples, <a href="#Page_369">369</a>.<br />
+<br />
+Joigny, <a href="#Page_46">46</a>, <a href="#Page_58">58</a>.<br />
+<br />
+Jourdain, Marshal, <a href="#Page_84">84</a>.<br />
+<br />
+Jouy, <a href="#Page_18">18</a>.<br />
+<br />
+Joyeuse, Admiral de, <a href="#Page_365">365</a>.<br />
+<br />
+&#8220;Jugurtha,&#8221; <a href="#Page_45">45</a>.<br />
+<br />
+Jussac, <a href="#Page_252">252</a>.<br />
+<br />
+<br />
+Karr, Alphonse, <a href="#Page_363">363</a>.<br />
+<br />
+&#8220;Kean,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Kipling, <a href="#Page_41">41</a>.<br />
+<br />
+Kotzebue, <a href="#Page_285">285</a>.<br />
+<br />
+<br />
+L&#8217;Abb&eacute; Metel de Bois-Robert, <a href="#Page_228">228</a>.<br />
+<br />
+La Beauce, <a href="#Page_166">166</a>.<br />
+<br />
+La Brie, <a href="#Page_166">166</a>.<br />
+<br />
+Lachambeaudie, <a href="#Page_82">82</a>.<br />
+<br />
+Lacenaire, <a href="#Page_240">240</a>.<br />
+<br />
+La Chapelle, <a href="#Page_87">87</a>.<br />
+<br />
+La Ch&acirc;tre, <a href="#Page_70">70</a>.<br />
+<br />
+&#8220;La Chevrette,&#8221; <a href="#Page_214">214</a>.<br />
+<br />
+La Cit&eacute;, <a href="#Page_129">129</a>, <a href="#Page_130">130</a>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>, <a href="#Page_235">235</a>, <a href="#Page_247">247</a>.<br />
+<br />
+&#8220;La Compagne Lafitte et Caillard,&#8221; <a href="#Page_157">157</a>.<br />
+<br />
+Lacroix, Paul, <a href="#Page_362">362</a>.<br />
+<br />
+&#8220;La Dame aux Cam&eacute;lias,&#8221; <a href="#Page_79">79</a>.<br />
+<br />
+La Dame aux Cam&eacute;lias, see <a href="#plessis">Plessis, Alphonsine</a>, <a href="#Page_78">78</a>.<br />
+<br />
+&#8220;La Dame de Monsoreau&#8221; (&#8220;Chicot the Jester&#8221;), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Ladislas I. of Hungary, <a href="#Page_369">369</a>.<br />
+<br />
+&#8220;La Feuille&#8221; (Arnault), <a href="#Page_71">71</a>.<br />
+<br />
+<i>La France</i>, <a href="#Page_163">163</a>.<br />
+<br />
+Lamartine, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>, <a href="#Page_179">179</a>.<br />
+<br />
+Lambert, Gabriel, <a href="#Page_326">326</a>, <a href="#Page_327">327</a>.<br />
+<br />
+Langeais, <a href="#Page_332">332</a>.<br />
+<br />
+&#8220;La Pastissier Fran&ccedil;aise,&#8221; <a href="#Page_104">104</a>.<br />
+<br />
+&#8220;La P&acirc;t&eacute; d&#8217;Italie,&#8221; <a href="#Page_93">93</a>.<br />
+<br />
+<i>La Presse</i>, <a href="#Page_75">75</a>.<br />
+<br />
+<i>La Revue</i>, <a href="#Page_54">54</a>, <a href="#Page_64">64</a>.<br />
+<br />
+La Rochelle, <a href="#Page_49">49</a>.<br />
+<br />
+La Roquette, <a href="#Page_263">263</a>, <a href="#Page_278">278</a>.<br />
+<br />
+Lassagne, <a href="#Page_31">31</a>.<br />
+<br />
+Latin Quarter, see <a href="#quartier">Quartier Latin</a>.<br />
+<br />
+&#8220;La Tour de Nesle,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Launay, De, <a href="#Page_284">284</a>.<br />
+<br />
+La Ville, <a href="#Page_130">130</a>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>.<br />
+<br />
+La Villette, <a href="#Page_24">24</a>, <a href="#Page_87">87</a>, <a href="#Page_137">137</a>.<br />
+<br />
+Lebrun, Madame, <a href="#Page_179">179</a>.<br />
+<br />
+&#8220;Le Ch&acirc;telet,&#8221; <a href="#Page_204">204</a>.<br />
+<br />
+Leclerc, Captain, <a href="#Page_229">229</a>.<br />
+<br />
+&#8220;Le Collier de la Reine&#8221; (The Queen&#8217;s Necklace), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Lecomte, General, <a href="#Page_227">227</a>.<br />
+<br />
+<i>Le Gaulois</i>, <a href="#Page_163">163</a>.<br />
+<br />
+Legislative Assembly, <a href="#Page_183">183</a>.<br />
+<br />
+<i>Le Livre</i>, <a href="#Page_79">79</a>.<br />
+<br />
+Lemarquier, <a href="#Page_239">239</a>.<br />
+<br />
+Lemercier, <a href="#Page_19">19</a>.<br />
+<br />
+<i>Le Mousquetaire</i>, <a href="#Page_44">44</a>.<br />
+<br />
+&#8220;Le Nord&#8221; Railway, <a href="#Page_160">160</a>.<br />
+<br />
+<i>Le Peuple</i>, <a href="#Page_98">98</a>.<br />
+<br />
+Lescot, Pierre, <a href="#Page_222">222</a>, <a href="#Page_260">260</a>.<br />
+<br />
+Lesdequieres, Duchesse de, <a href="#Page_293">293</a>.<br />
+<br />
+&#8220;Les Fran&ccedil;aises,&#8221; <a href="#Page_157">157</a>.<br />
+<br />
+Les Grandes Eaux, <a href="#Page_303">303</a>.<br />
+<br />
+Les Halles, <a href="#Page_206">206</a>, <a href="#Page_222">222</a>, <a href="#Page_263">263</a>.<br />
+<br />
+&#8220;Les P&ecirc;cheurs du Filet,&#8221; see <a href="#works">Works of Dumas</a>, <a href="#Page_368">368</a>.<br />
+<br />
+&#8220;L&#8217;Est&#8221; Railway, <a href="#Page_160">160</a>.<br />
+<br />
+Les Ternes, <a href="#Page_87">87</a>.<br />
+<span class="pagenum"><a name="Page_386" id="Page_386">[Pg 386]</a></span><br />
+&#8220;Les Trois Mousquetaires,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Le Stryge,&#8221; <a href="#Page_198">198</a>.<br />
+<br />
+Leuven, Adolphe de, <a href="#Page_14">14</a>, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>.<br />
+<br />
+<i>L&#8217;Homme-Libre</i>, <a href="#Page_75">75</a>.<br />
+<br />
+Lille, <a href="#Page_49">49</a>, <a href="#Page_160">160</a>.<br />
+<br />
+&#8220;L&#8217;Image de N&ocirc;tre Dame,&#8221; <a href="#Page_199">199</a>, <a href="#Page_201">201</a>.<br />
+<br />
+Limerick, <a href="#Page_76">76</a>.<br />
+<br />
+L&#8217;Institut, <a href="#Page_167">167</a>.<br />
+<br />
+Lisbon, <a href="#Page_77">77</a>.<br />
+<br />
+Lisieux, <a href="#Page_326">326</a>.<br />
+<br />
+Loire, The, <a href="#Page_155">155</a>, <a href="#Page_160">160</a>, <a href="#Page_168">168</a>, <a href="#Page_329">329-331</a>.<br />
+<br />
+London, <a href="#Page_76">76</a>, <a href="#Page_105">105</a>, <a href="#Page_150">150</a>, <a href="#Page_154">154</a>, <a href="#Page_179">179</a>, <a href="#Page_189">189</a>, <a href="#Page_321">321</a>.<br />
+<br />
+London Tower, <a href="#Page_185">185</a>.<br />
+<br />
+Long&eacute;, <a href="#Page_79">79</a>.<br />
+<br />
+Longueville, Madame de, <a href="#Page_224">224</a>.<br />
+<br />
+&#8220;L&#8217;Orleans&#8221; Railway, <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_192">192</a>.<br />
+<br />
+&#8220;L&#8217;Ouest&#8221; Railway, <a href="#Page_160">160</a>.<br />
+<br />
+Louis I., <a href="#Page_77">77</a>.<br />
+<br />
+Louis IV., <a href="#Page_220">220</a>.<br />
+<br />
+Louis VII., <a href="#Page_130">130</a>, <a href="#Page_173">173</a>.<br />
+<br />
+Louis VIII., <a href="#Page_144">144</a>.<br />
+<br />
+Louis XI., <a href="#Page_12">12</a>, <a href="#Page_131">131</a>.<br />
+<br />
+Louis XII., <a href="#Page_131">131</a>, <a href="#Page_134">134</a>.<br />
+<br />
+Louis XIII., <a href="#Page_133">133</a>, <a href="#Page_214">214</a>, <a href="#Page_224">224</a>, <a href="#Page_266">266</a>.<br />
+<br />
+Louis XIV., <a href="#Page_50">50</a>, <a href="#Page_104">104</a>, <a href="#Page_115">115</a>, <a href="#Page_134">134</a>, <a href="#Page_135">135</a>, <a href="#Page_143">143</a>, <a href="#Page_224">224</a>, <a href="#Page_260">260</a>, <a href="#Page_267">267</a>, <a href="#Page_288">288</a>, <a href="#Page_289">289</a>, <a href="#Page_303">303</a>, <a href="#Page_304">304</a>, <a href="#Page_312">312</a>, <a href="#Page_328">328</a>, <a href="#Page_330">330</a>, <a href="#Page_331">331</a>.<br />
+<br />
+Louis XV., <a href="#Page_135">135</a>, <a href="#Page_166">166</a>, <a href="#Page_318">318</a>.<br />
+<br />
+Louis XVI., <a href="#Page_196">196</a>, <a href="#Page_264">264</a>, <a href="#Page_315">315</a>.<br />
+<br />
+Louis XVIII., <a href="#Page_143">143</a>, <a href="#Page_154">154</a>, <a href="#Page_262">262</a>.<br />
+<br />
+Louis-Philippe, <a href="#Page_31">31</a>, <a href="#Page_38">38</a>, <a href="#Page_58">58</a>, <a href="#Page_69">69</a>, <a href="#Page_72">72</a>, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_104">104</a>, <a href="#Page_116">116</a>, <a href="#Page_153">153</a>, <a href="#Page_180">180</a>, <a href="#Page_193">193</a>, <a href="#Page_268">268</a>, <a href="#Page_270">270</a>.<br />
+<br />
+Louvre, The, <a href="#Page_89">89</a>, <a href="#Page_132">132</a>, <a href="#Page_135">135</a>, <a href="#Page_136">136</a>, <a href="#Page_167">167</a>, <a href="#Page_173">173</a>, <a href="#Page_175">175</a>, <a href="#Page_184">184</a>, <a href="#Page_187">187</a>, <a href="#Page_195">195</a>, <a href="#Page_208">208</a>, <a href="#Page_212">212</a>, <a href="#Page_215">215</a>, <a href="#Page_221">221</a>, <a href="#Page_241">241</a>, <a href="#Page_255">255</a>, <a href="#Page_258">258-264</a>, <a href="#Page_315">315</a>.<br />
+<br />
+Loyola, Ignatius, <a href="#Page_227">227</a>.<br />
+<br />
+Lulli, <a href="#Page_115">115</a>.<br />
+<br />
+L&#8217;Universit&eacute;, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>, <a href="#Page_244">244</a>, <a href="#Page_248">248</a>.<br />
+<br />
+<i>Lut&egrave;ce</i>, <a href="#Page_86">86</a>.<br />
+<br />
+Luxembourg, The, <a href="#Page_133">133</a>, <a href="#Page_167">167</a>, <a href="#Page_187">187</a>, <a href="#Page_191">191</a>, <a href="#Page_245">245-247</a>, <a href="#Page_251">251</a>, <a href="#Page_253">253-255</a>.<br />
+<br />
+Luxembourg, Gardens of the, <a href="#Page_70">70</a>, <a href="#Page_150">150</a>, <a href="#Page_253">253</a>.<br />
+<br />
+Lyc&eacute;e Henri Quatre, <a href="#Page_253">253</a>.<br />
+<br />
+Lyons, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_172">172</a>, <a href="#Page_301">301</a>, <a href="#Page_342">342</a>, <a href="#Page_359">359</a>.<br />
+<br />
+<br />
+Mackeat (Maquet), Augustus, <a href="#Page_39">39-42</a>.<br />
+<br />
+Madeleine, The (Church), <a href="#Page_88">88</a>, <a href="#Page_138">138</a>, <a href="#Page_149">149</a>, <a href="#Page_153">153</a>.<br />
+<br />
+Madelonnettes, The, <a href="#Page_134">134</a>.<br />
+<br />
+Madrid, <a href="#Page_159">159</a>.<br />
+<br />
+Madrid, Ch&acirc;teau of, <a href="#Page_298">298</a>, <a href="#Page_319">319</a>.<br />
+<br />
+Maestricht, <a href="#Page_50">50</a>.<br />
+<br />
+Magazin St. Thomas, <a href="#Page_147">147</a>.<br />
+<br />
+&#8220;<i>Maison Dumas et Cie</i>,&#8221; <a href="#Page_40">40</a>, <a href="#Page_51">51</a>.<br />
+<br />
+&#8220;Ma&icirc;tre Adam le Calabrais,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Malmesbury, Lord, <a href="#Page_76">76</a>.<br />
+<br />
+Mandrin, Pierre, <a href="#Page_91">91</a>.<br />
+<br />
+&#8220;Man in the Iron Mask, The,&#8221; <a href="#Page_288">288</a>, <a href="#Page_289">289</a>.<br />
+<br />
+Mantes, <a href="#Page_165">165</a>, <a href="#Page_169">169</a>.<br />
+<br />
+Marat, Jean Paul, <a href="#Page_229">229</a>.<br />
+<br />
+Marcel, Etienne, <a href="#Page_130">130</a>, <a href="#Page_193">193</a>.<br />
+<br />
+Margot, <a href="#Page_236">236</a>.<br />
+<br />
+&#8220;Marguerite de Valois,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Marie Antoinette, <a href="#Page_50">50</a>, <a href="#Page_236">236</a>, <a href="#Page_238">238</a>.<br />
+<br />
+Marne, <a href="#Page_165">165</a>.<br />
+<br />
+Marrast, Armand, <a href="#Page_179">179</a>.<br />
+<br />
+Mars, Mlle., <a href="#Page_123">123</a>.<br />
+<br />
+Marseilles, <a href="#Page_155">155</a>, <a href="#Page_219">219</a>, <a href="#Page_229">229</a>, <a href="#Page_261">261</a>, <a href="#Page_339">339-342</a>, <a href="#Page_349">349</a>, <a href="#Page_351">351</a>, <a href="#Page_358">358</a>.<br />
+<br />
+Marsillac, Prince de, <a href="#Page_90">90</a>.<br />
+<br />
+Mattioli, <a href="#Page_290">290</a>.<br />
+<span class="pagenum"><a name="Page_387" id="Page_387">[Pg 387]</a></span><br />
+Mauge, Marquise de, <a href="#Page_214">214</a>.<br />
+<br />
+Maupassant, Guy de, <a href="#Page_228">228</a>.<br />
+<br />
+Mauritius (Isle of France), <a href="#Page_46">46</a>.<br />
+<br />
+Mazarin, <a href="#Page_37">37</a>, <a href="#Page_115">115</a>, <a href="#Page_211">211</a>, <a href="#Page_267">267</a>, <a href="#Page_273">273</a>, <a href="#Page_275">275</a>.<br />
+<br />
+&#8220;Mechanism of Modern Life,&#8221; <a href="#Page_101">101</a>.<br />
+<br />
+Medici, Marie de, <a href="#Page_133">133</a>, <a href="#Page_224">224</a>, <a href="#Page_260">260</a>.<br />
+<br />
+Medici, Catherine de, <a href="#Page_208">208</a>, <a href="#Page_212">212</a>, <a href="#Page_264">264</a>.<br />
+<br />
+&#8220;Meditations&#8221; (Lamartine), <a href="#Page_68">68</a>.<br />
+<br />
+Mediterranean, The, <a href="#Page_45">45</a>, <a href="#Page_327">327</a>, <a href="#Page_336">336</a>, <a href="#Page_340">340</a>.<br />
+<br />
+&#8220;M&eacute;moires,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;M&eacute;moires de M. d&#8217;Artagnan,&#8221; <a href="#Page_49">49</a>.<br />
+<br />
+&#8220;M&eacute;moires d&#8217;un Ma&icirc;tre d&#8217;Armes,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+M&eacute;nilmontant, <a href="#Page_87">87</a>.<br />
+<br />
+Mennesson, <a href="#Page_14">14</a>.<br />
+<br />
+M&eacute;rim&eacute;e, <a href="#Page_69">69</a>, <a href="#Page_159">159</a>, <a href="#Page_368">368</a>.<br />
+<br />
+Merle, De, <a href="#Page_18">18</a>.<br />
+<br />
+Merov&eacute;e, <a href="#Page_129">129</a>.<br />
+<br />
+M&eacute;ryon, <a href="#Page_126">126-128</a>, <a href="#Page_198">198</a>.<br />
+<br />
+&#8220;Mes B&ecirc;tes,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Messageries &agrave; Cheval,&#8221; <a href="#Page_157">157</a>.<br />
+<br />
+&#8220;Messageries Royale,&#8221; <a href="#Page_157">157</a>.<br />
+<br />
+&#8220;Metropolitain,&#8221; <a href="#Page_204">204</a>.<br />
+<br />
+Metz, <a href="#Page_157">157</a>.<br />
+<br />
+Meulan, <a href="#Page_165">165</a>.<br />
+<br />
+Meulien, Pauline de, <a href="#Page_371">371</a>.<br />
+<br />
+Meyerbeer, <a href="#Page_117">117</a>.<br />
+<br />
+Michelangelo, <a href="#Page_224">224</a>.<br />
+<br />
+Michelet, <a href="#Page_69">69</a>, <a href="#Page_82">82</a>, <a href="#Page_98">98-100</a>.<br />
+<br />
+Mignet, <a href="#Page_69">69</a>.<br />
+<br />
+Millet, <a href="#Page_71">71</a>.<br />
+<br />
+Minister of the Interior, <a href="#Page_183">183</a>.<br />
+<br />
+Mirabeau, <a href="#Page_320">320</a>.<br />
+<br />
+Mohammed Ali, <a href="#Page_88">88</a>.<br />
+<br />
+Mole, De la, <a href="#Page_212">212</a>.<br />
+<br />
+Moli&egrave;re, <a href="#Page_224">224</a>.<br />
+<br />
+Moll&eacute;, Mathieu, <a href="#Page_211">211</a>.<br />
+<br />
+Monast&egrave;re des Feuillants, <a href="#Page_133">133</a>.<br />
+<br />
+Monet, <a href="#Page_187">187</a>.<br />
+<br />
+Monmouth, Duke of, <a href="#Page_289">289</a>.<br />
+<br />
+Monselet, Charles, <a href="#Page_163">163</a>.<br />
+<br />
+Monstrelet, <a href="#Page_215">215</a>.<br />
+<br />
+Montargis, <a href="#Page_155">155</a>.<br />
+<br />
+&#8220;Monte Cristo,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Monte Cristo, Island of, <a href="#Page_45">45</a>, <a href="#Page_338">338</a>.<br />
+<br />
+Montez, Lola, <a href="#Page_76">76</a>, <a href="#Page_78">78</a>.<br />
+<br />
+Montford, Comtes de, <a href="#Page_315">315</a>.<br />
+<br />
+Montmartre, <a href="#Page_87">87</a>, <a href="#Page_142">142</a>, <a href="#Page_146">146</a>, <a href="#Page_188">188</a>, <a href="#Page_190">190</a>, <a href="#Page_227">227</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Montmartre, Abbaye of, <a href="#Page_227">227</a>.<br />
+<br />
+Montmorenci, Duc de, <a href="#Page_255">255</a>.<br />
+<br />
+Montpensier, Duc de, <a href="#Page_45">45</a>.<br />
+<br />
+Mont Valerien, <a href="#Page_88">88</a>.<br />
+<br /><a name="monuments" id="monuments"></a>
+Monuments to Dumas, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Morcerf, Mme. de, <a href="#Page_358">358</a>.<br />
+<br />
+Morcerf, Albert de, <a href="#Page_369">369</a>.<br />
+<br />
+Morrel, House of, <a href="#Page_349">349</a>.<br />
+<br />
+Motte, Mme. de la, <a href="#Page_228">228</a>, <a href="#Page_241">241</a>, <a href="#Page_307">307</a>.<br />
+<br />
+Moulin Rouge, <a href="#Page_227">227</a>.<br />
+<br />
+Moulin de la Galette, <a href="#Page_227">227</a>.<br />
+<br />
+Mount of Martyrs, <a href="#Page_227">227</a>.<br />
+<br />
+M&uuml;ller, <a href="#Page_241">241</a>.<br />
+<br />
+Munier, Georges, <a href="#Page_46">46</a>.<br />
+<br />
+Murat, <a href="#Page_351">351</a>.<br />
+<br />
+&#8220;Murat,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+M&uuml;rger, Henri, <a href="#Page_96">96</a>.<br />
+<br />
+Mus&eacute;e, Cluny, <a href="#Page_5">5</a>.<br />
+<br />
+Musset, Alfred de, <a href="#Page_68">68</a>, <a href="#Page_82">82</a>, <a href="#Page_95">95</a>, <a href="#Page_123">123</a>.<br />
+<br />
+&#8220;Mysteries of Paris,&#8221; <a href="#Page_99">99</a>.<br />
+<br />
+<br />
+Nadaud, Gustave, <a href="#Page_96">96</a>.<br />
+<br />
+Nancy, <a href="#Page_157">157</a>, <a href="#Page_160">160</a>.<br />
+<br />
+Nantes, <a href="#Page_151">151</a>, <a href="#Page_334">334-336</a>.<br />
+<br />
+Nantes, Edict of, <a href="#Page_334">334</a>.<br />
+<span class="pagenum"><a name="Page_388" id="Page_388">[Pg 388]</a></span><br />
+Nanteuil, <a href="#Page_24">24</a>.<br />
+<br />
+Naples, <a href="#Page_8">8</a>, <a href="#Page_368">368</a>.<br />
+<br />
+Napoleon I., <a href="#Page_1">1</a>, <a href="#Page_25">25</a>, <a href="#Page_74">74</a>, <a href="#Page_88">88</a>, <a href="#Page_116">116</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_192">192</a>, <a href="#Page_193">193</a>, <a href="#Page_218">218</a>, <a href="#Page_219">219</a>, <a href="#Page_244">244</a>, <a href="#Page_260">260</a>, <a href="#Page_265">265</a>, <a href="#Page_270">270</a>, <a href="#Page_313">313</a>, <a href="#Page_325">325</a>, <a href="#Page_367">367</a>.<br />
+<br />
+Napoleon III., <a href="#Page_54">54</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_89">89</a>, <a href="#Page_102">102</a>, <a href="#Page_144">144</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>, <a href="#Page_183">183-185</a>, <a href="#Page_260">260</a>, <a href="#Page_265">265</a>, <a href="#Page_271">271</a>, <a href="#Page_315">315</a>, <a href="#Page_325">325</a>.<br />
+<br />
+Napoleon, Jerome, <a href="#Page_45">45</a>.<br />
+<br />
+Nemours, De, <a href="#Page_323">323</a>.<br />
+<br />
+Nerval, Gerard de, <a href="#Page_123">123</a>.<br />
+<br />
+Netherlands, The, <a href="#Page_365">365</a>.<br />
+<br />
+Nevers, Duchesse de, <a href="#Page_197">197</a>.<br />
+<br />
+New York, <a href="#Page_11">11</a>, <a href="#Page_105">105</a>.<br />
+<br />
+Nodier, Charles, <a href="#Page_69">69</a>, <a href="#Page_82">82</a>, <a href="#Page_104">104</a>, <a href="#Page_156">156</a>.<br />
+<br />
+Nogaret, <a href="#Page_238">238</a>.<br />
+<br />
+Nogent, <a href="#Page_88">88</a>.<br />
+<br />
+Noirtier, M., <a href="#Page_229">229</a>.<br />
+<br />
+Normandy, <a href="#Page_326">326</a>, <a href="#Page_327">327</a>.<br />
+<br />
+Notre Dame, see under <a href="#eglise">&Eacute;glise</a>.<br />
+<br />
+Notre Dame de la Garde (Marseilles), <a href="#Page_342">342</a>.<br />
+<br />
+<br />
+Obelisk, The, <a href="#Page_88">88</a>.<br />
+<br />
+Observatoire, The, <a href="#Page_135">135</a>, <a href="#Page_244">244</a>.<br />
+<br />
+Od&eacute;on, The, <a href="#Page_123">123</a>, <a href="#Page_167">167</a>, <a href="#Page_187">187</a>.<br />
+<br />
+&#8220;Odes et Ballades&#8221; (Hugo), <a href="#Page_68">68</a>.<br />
+<br />
+&#8220;&OElig;dipus,&#8221; <a href="#Page_122">122</a>.<br />
+<br />
+&#8220;Old Mortality,&#8221; <a href="#Page_121">121</a>.<br />
+<br />
+Oliva, <a href="#Page_255">255</a>.<br />
+<br />
+Oloron, <a href="#Page_49">49</a>.<br />
+<br />
+Omnibus, Companies:<br />
+<span style="margin-left: 1em;">&#8220;Compagnie G&eacute;n&eacute;rale des Omnibus,&#8221; <a href="#Page_153">153</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;La Compagne Lafitte et Caillard,&#8221; <a href="#Page_157">157</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Les Fran&ccedil;aises,&#8221; <a href="#Page_157">157</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Messageries Royales,&#8221; <a href="#Page_157">157</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Messageries &agrave; Cheval,&#8221; <a href="#Page_157">157</a>.</span><br />
+<br />
+&#8220;Op&eacute;ra,&#8221; The, <a href="#Page_89">89</a>, <a href="#Page_91">91</a>, <a href="#Page_95">95</a>, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_118">118</a>, <a href="#Page_190">190</a>.<br />
+<br />
+Op&eacute;ra Comique, <a href="#Page_190">190</a>.<br />
+<br />
+Oratoire, The, <a href="#Page_134">134</a>.<br />
+<br />
+Orleans, <a href="#Page_155">155</a>, <a href="#Page_160">160</a>, <a href="#Page_237">237</a>, <a href="#Page_330">330</a>.<br />
+<br />
+Orleans, House of, <a href="#Page_181">181</a>, <a href="#Page_324">324</a>.<br />
+<br />
+Orthez, <a href="#Page_49">49</a>.<br />
+<br />
+Orthon, <a href="#Page_208">208</a>.<br />
+<br />
+Orthos, <a href="#Page_172">172</a>.<br />
+<br />
+Orthos, Bridge of, <a href="#Page_172">172</a>.<br />
+<br />
+&#8220;Otho the Archer,&#8221; <a href="#Page_360">360</a>.<br />
+<br />
+Ourcq (river), <a href="#Page_137">137</a>.<br />
+<br />
+<br />
+Pailleterie, Marquis de la, see <a href="#dumas">Dumas, General</a>.<br />
+<br />
+Palais Bourbon, <a href="#Page_187">187</a>.<br />
+<br />
+Palais Cardinal, <a href="#Page_134">134</a>, <a href="#Page_266">266</a>.<br />
+<br />
+Palais de Justice, <a href="#Page_236">236</a>, <a href="#Page_239">239</a>, <a href="#Page_241">241</a>.<br />
+<br />
+Palais de la Bourse, <a href="#Page_137">137</a>.<br />
+<br />
+Palais de l&#8217;Industrie, <a href="#Page_141">141</a>.<br />
+<br />
+Palais de la R&eacute;volution, <a href="#Page_270">270</a>.<br />
+<br />
+Palais des Arts, <a href="#Page_173">173</a>.<br />
+<br />
+Palais des Beaux Arts, <a href="#Page_138">138</a>, <a href="#Page_143">143</a>, <a href="#Page_238">238</a>.<br />
+<br />
+Palais des Tournelles, <a href="#Page_133">133</a>.<br />
+<br />
+Palais National, <a href="#Page_183">183</a>.<br />
+<br />
+Palais Royale, <a href="#Page_16">16</a>, <a href="#Page_31">31</a>, <a href="#Page_95">95</a>, <a href="#Page_115">115</a>, <a href="#Page_134">134</a>, <a href="#Page_167">167</a>, <a href="#Page_183">183</a>, <a href="#Page_187">187</a>, <a href="#Page_224">224</a>, <a href="#Page_228">228</a>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>, <a href="#Page_266">266-273</a>, <a href="#Page_275">275</a>.<br />
+<br />
+Panorama Colbert, <a href="#Page_148">148</a>.<br />
+<br />
+Panorama Delorme, <a href="#Page_148">148</a>.<br />
+<br />
+Panorama de l&#8217;Op&eacute;ra, <a href="#Page_148">148</a>.<br />
+<br />
+Panorama du Saumon, <a href="#Page_148">148</a>.<br />
+<br />
+Panorama Jouffroy, <a href="#Page_148">148</a>.<br />
+<br />
+Panorama Vivienne, <a href="#Page_148">148</a>.<br />
+<br />
+Panth&eacute;on, The, <a href="#Page_37">37</a>, <a href="#Page_136">136</a>, <a href="#Page_167">167</a>, <a href="#Page_187">187</a>, <a href="#Page_252">252</a>, <a href="#Page_253">253</a>.<br />
+<br />
+Paraclet, <a href="#Page_81">81</a>.<br />
+<br />
+Parc Monceau, <a href="#Page_228">228</a>.<br />
+<br />
+&#8220;Paris-Lyon et M&eacute;diterran&eacute;e&#8221; (P. L. M.) Ry., <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_192">192</a>.<br />
+<br />
+&#8220;Pascal Bruno,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Passerelle, Constantine, <a href="#Page_170">170</a>.<br />
+<span class="pagenum"><a name="Page_389" id="Page_389">[Pg 389]</a></span><br />
+Passerelle de l&#8217;Estacade, <a href="#Page_170">170</a>.<br />
+<br />
+Passerelle St. Louis, <a href="#Page_170">170</a>.<br />
+<br />
+Passy, <a href="#Page_87">87</a>, <a href="#Page_150">150</a>.<br />
+<br />
+Pau, <a href="#Page_354">354</a>.<br />
+<br />
+&#8220;Pauline,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;Paul Jones&#8221; (&#8220;Capitaine Paul&#8221;), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Pennell, Joseph, <a href="#Page_168">168</a>.<br />
+<br /><a name="lachaise" id="lachaise"></a>
+P&egrave;re la Chaise, <a href="#Page_81">81</a>, <a href="#Page_142">142</a>, <a href="#Page_146">146</a>, <a href="#Page_188">188</a>, <a href="#Page_239">239</a>, <a href="#Page_340">340</a>.<br />
+<br />
+Perpignan, <a href="#Page_372">372</a>.<br />
+<br />
+Petit Pont, <a href="#Page_170">170</a>.<br />
+<br />
+Petits Augustins, <a href="#Page_143">143</a>.<br />
+<br />
+Pfeffers, <a href="#Page_371">371</a>.<br />
+<br />
+Philippe-Auguste, <a href="#Page_130">130</a>, <a href="#Page_134">134</a>, <a href="#Page_144">144</a>, <a href="#Page_260">260</a>.<br />
+<br />
+Ph&oelig;bus, Gaston, <a href="#Page_354">354</a>.<br />
+<br />
+Pierrefonds, <a href="#Page_246">246</a>, <a href="#Page_317">317</a>.<br />
+<br />
+Pierrefonds, Castle of, <a href="#Page_324">324</a>.<br />
+<br />
+Picardie, <a href="#Page_321">321</a>.<br />
+<br />
+&#8220;Pilon d&#8217;Or,&#8221; <a href="#Page_205">205</a>.<br />
+<br />
+Pitou, Louis Ange, <a href="#Page_18">18</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_317">317</a>.<br />
+<br />
+Place Dauphine, <a href="#Page_133">133</a>, <a href="#Page_235">235</a>.<br />
+<br />
+Place de Bourgogne, <a href="#Page_182">182</a>.<br />
+<br />
+Place de la Bastille, <a href="#Page_148">148</a>, <a href="#Page_167">167</a>, <a href="#Page_187">187</a>, <a href="#Page_225">225</a>, <a href="#Page_296">296</a>.<br />
+<br />
+Place de la Concorde, <a href="#Page_136">136</a>, <a href="#Page_138">138</a>, <a href="#Page_148">148</a>, <a href="#Page_162">162</a>, <a href="#Page_193">193</a>, <a href="#Page_263">263</a>.<br />
+<br />
+Place de la Croix-Rouge, <a href="#Page_252">252</a>.<br />
+<br />
+Place de la Gr&egrave;ve, <a href="#Page_166">166</a>, <a href="#Page_197">197-199</a>, <a href="#Page_201">201</a>, <a href="#Page_234">234</a>, <a href="#Page_239">239</a>, <a href="#Page_287">287</a>.<br />
+<br />
+Place de l&#8217;H&ocirc;tel de Ville, <a href="#Page_148">148</a>, <a href="#Page_197">197</a>.<br />
+<br />
+Place de la Madeleine, <a href="#Page_194">194</a>.<br />
+<br />
+Place de la Nation, <a href="#Page_147">147</a>.<br />
+<br />
+Place de la R&eacute;volution, <a href="#Page_263">263</a>.<br />
+<br />
+Place de St. Sulpice, <a href="#Page_148">148</a>, <a href="#Page_252">252</a>.<br />
+<br />
+Place des Victoires, <a href="#Page_148">148</a>.<br />
+<br />
+Place des Vosges, <a href="#Page_148">148</a>, <a href="#Page_223">223</a>, <a href="#Page_225">225</a>.<br />
+<br />
+Place du Carrousel, <a href="#Page_89">89</a>, <a href="#Page_138">138</a>, <a href="#Page_148">148</a>, <a href="#Page_221">221</a>.<br />
+<br />
+Place du Ch&acirc;telet, <a href="#Page_148">148</a>, <a href="#Page_205">205</a>, <a href="#Page_286">286</a>.<br />
+<br />
+Place du Palais Bourbon, <a href="#Page_148">148</a>.<br />
+<br />
+Place du Palais Royal, <a href="#Page_148">148</a>.<br />
+<br />
+Place du Panth&eacute;on, <a href="#Page_148">148</a>.<br />
+<br />
+Place Malesherbes, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>, <a href="#Page_140">140</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Place Maubert, <a href="#Page_286">286</a>.<br />
+<br />
+Place Royale, <a href="#Page_133">133</a>, <a href="#Page_134">134</a>, <a href="#Page_148">148</a>, <a href="#Page_223">223-225</a>.<br />
+<br />
+Place St. Antoine, <a href="#Page_225">225</a>.<br />
+<br />
+Place Vendome, <a href="#Page_137">137</a>, <a href="#Page_148">148</a>.<br />
+<br />
+Plaine de St. Denis, <a href="#Page_95">95</a>.<br />
+<br /><a name="plessis" id="plessis"></a>
+Plessis, Alphonsine, (La Dame aux Cam&eacute;lias), <a href="#Page_78">78</a>.<br />
+<br />
+Poe, E. A., <a href="#Page_41">41</a>, <a href="#Page_43">43</a>.<br />
+<br />
+Poissy, G&eacute;rard de, <a href="#Page_130">130</a>.<br />
+<br />
+Poitiers, Diane de, <a href="#Page_260">260</a>.<br />
+<br />
+Pompeii, <a href="#Page_5">5</a>, <a href="#Page_45">45</a>, <a href="#Page_57">57</a>.<br />
+<br /><a name="pont" id="pont"></a>
+Pont Alexandre, <a href="#Page_173">173</a>.<br />
+<br />
+Pont au Change, <a href="#Page_135">135</a>, <a href="#Page_170">170</a>, <a href="#Page_171">171</a>, <a href="#Page_173">173</a>.<br />
+<br />
+Pont Audemer, <a href="#Page_326">326</a>.<br />
+<br />
+Pont aux Doubles, <a href="#Page_170">170</a>.<br />
+<br />
+Pont de l&#8217;Archev&ecirc;che, <a href="#Page_170">170</a>.<br />
+<br />
+Pont d&#8217;Arcole, <a href="#Page_170">170</a>.<br />
+<br />
+Pont d&#8217;Austerlitz, <a href="#Page_170">170</a>.<br />
+<br />
+Pont de Bercy, <a href="#Page_170">170</a>.<br />
+<br />
+Pont de la Cit&eacute;, <a href="#Page_170">170</a>.<br />
+<br />
+Pont des Arts, <a href="#Page_170">170</a>, <a href="#Page_172">172</a>.<br />
+<br />
+Pont de S&egrave;vres, <a href="#Page_302">302</a>.<br />
+<br />
+Pont des Invalides, <a href="#Page_88">88</a>.<br />
+<br />
+Pont du Carrousel, <a href="#Page_88">88</a>, <a href="#Page_171">171</a>, <a href="#Page_235">235</a>.<br />
+<br />
+Pont du Garde, <a href="#Page_347">347</a>.<br />
+<br />
+Pont du Pecq, <a href="#Page_311">311</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Pont l&#8217;Ev&ecirc;que, <a href="#Page_327">327</a>.<br />
+<br />
+Pont, le Petit, <a href="#Page_168">168</a>.<br />
+<br />
+Pont Louis XV., <a href="#Page_173">173</a>.<br />
+<br />
+Pont Louis-Philippe, <a href="#Page_88">88</a>, <a href="#Page_170">170</a>.<br />
+<br />
+Pont Maril, <a href="#Page_170">170</a>.<br />
+<br />
+Pont Napol&eacute;on, <a href="#Page_170">170</a>.<br />
+<br />
+Pont Neuf, <a href="#Page_133">133</a>, <a href="#Page_134">134</a>, <a href="#Page_170">170</a>, <a href="#Page_171">171</a>, <a href="#Page_173">173</a>.<br />
+<br />
+Pont Notre Dame, <a href="#Page_170">170</a>.<br />
+<span class="pagenum"><a name="Page_390" id="Page_390">[Pg 390]</a></span><br />
+Pont Royal, <a href="#Page_135">135</a>, <a href="#Page_157">157</a>.<br />
+<br />
+Pont St. Michel, <a href="#Page_170">170</a>.<br />
+<br />
+Pont Tournelle, <a href="#Page_170">170</a>.<br />
+<br />
+Porette, Marguerite, <a href="#Page_239">239</a>.<br />
+<br />
+Porte du Canal de l&#8217;Ourcq, <a href="#Page_139">139</a>.<br />
+<br />
+Porte du Temple, <a href="#Page_131">131</a>.<br />
+<br />
+Porte Marly, <a href="#Page_314">314</a>.<br />
+<br />
+Porte St. Antoine, <a href="#Page_221">221</a>.<br />
+<br />
+Porte St. Denis, <a href="#Page_131">131</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>.<br />
+<br />
+Porte St. Honor&eacute;, <a href="#Page_131">131</a>.<br />
+<br />
+Porte St. Martin, <a href="#Page_104">104</a>, <a href="#Page_113">113</a>, <a href="#Page_115">115</a>, <a href="#Page_153">153</a>.<br />
+<br /><a name="porthos" id="porthos"></a>
+Porthos, <a href="#Page_45">45</a>, <a href="#Page_49">49</a>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>, <a href="#Page_252">252</a>, <a href="#Page_324">324</a>.<br />
+<br />
+Portu, Jean de, see <a href="#porthos">Porthos</a>.<br />
+<br />
+Prison du Grand Ch&acirc;telet, <a href="#Page_204">204</a>.<br />
+<br />
+Proudhon, M., <a href="#Page_178">178</a>.<br />
+<br />
+Provence, <a href="#Page_347">347</a>, <a href="#Page_351">351</a>.<br />
+<br />
+Puits, <a href="#Page_80">80</a>.<br />
+<br />
+Puys, <a href="#Page_8">8</a>, <a href="#Page_66">66</a>.<br />
+<br />
+<br />
+Quai de Conti, <a href="#Page_133">133</a>, <a href="#Page_170">170</a>, <a href="#Page_248">248</a>.<br />
+<br />
+Quai de la Gr&egrave;ve, <a href="#Page_166">166</a>, <a href="#Page_197">197</a>, <a href="#Page_199">199</a>, <a href="#Page_206">206</a>.<br />
+<br />
+Quai de la Megisserie, <a href="#Page_133">133</a>.<br />
+<br />
+Quai de la Monnai, <a href="#Page_172">172</a>.<br />
+<br />
+Quai de l&#8217;Arsenal, <a href="#Page_133">133</a>.<br />
+<br />
+Quai de l&#8217;&Eacute;cole, <a href="#Page_133">133</a>, <a href="#Page_173">173</a>.<br />
+<br />
+Quai de l&#8217;Horloge, <a href="#Page_133">133</a>, <a href="#Page_236">236</a>.<br />
+<br />
+Quai de l&#8217;H&ocirc;tel de Ville, <a href="#Page_197">197</a>, <a href="#Page_206">206</a>.<br />
+<br />
+Quai des Augustins, <a href="#Page_133">133</a>.<br />
+<br />
+Quai des Ormes, <a href="#Page_197">197</a>.<br />
+<br />
+Quai des Orphelins, <a href="#Page_133">133</a>.<br />
+<br />
+Quai d&#8217;Orleans, <a href="#Page_343">343</a>.<br />
+<br />
+Quai d&#8217;Orsay, <a href="#Page_138">138</a>, <a href="#Page_170">170</a>.<br />
+<br />
+Quai du Louvre, <a href="#Page_170">170</a>, <a href="#Page_172">172</a>.<br />
+<br />
+Quai Voltaire, <a href="#Page_170">170</a>.<br />
+<br />
+Quartier des Infants-Rouges, <a href="#Page_228">228</a>.<br />
+<br />
+Quartier du Marais, <a href="#Page_133">133</a>.<br />
+<br /><a name="quartier" id="quartier"></a>
+Quartier Latin, <a href="#Page_96">96</a>, <a href="#Page_185">185</a>, <a href="#Page_244">244</a>.<br />
+<br />
+&#8220;Quentin Durward,&#8221; <a href="#Page_13">13</a>.<br />
+<br />
+<br />
+Rachel, <a href="#Page_191">191</a>.<br />
+<br />
+Railways:<br />
+<span style="margin-left: 1em;">&#8220;Ceinture,&#8221; <a href="#Page_89">89</a>, <a href="#Page_303">303</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;L&#8217;Est,&#8221; <a href="#Page_160">160</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Le Nord,&#8221; <a href="#Page_160">160</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;L&#8217;Orleans,&#8221; <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_192">192</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;L&#8217;Ouest,&#8221; <a href="#Page_160">160</a>, <a href="#Page_303">303</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;P. L. M.&#8221; (Paris-Lyon et M&eacute;diterran&eacute;e), <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_192">192</a>.</span><br />
+<br />
+Rambouillet, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_315">315</a>, <a href="#Page_316">316</a>.<br />
+<br />
+Ranke, <a href="#Page_259">259</a>.<br />
+<br />
+Raspail, <a href="#Page_179">179</a>.<br />
+<br />
+Ravaillac, <a href="#Page_224">224</a>.<br />
+<br />
+Reade, Charles, <a href="#Page_81">81</a>.<br />
+<br />
+&#8220;Regulus,&#8221; <a href="#Page_18">18</a>.<br />
+<br />
+Reims, <a href="#Page_129">129</a>, <a href="#Page_156">156</a>.<br />
+<br />
+Rempart des Fosses, <a href="#Page_130">130</a>.<br />
+<br />
+Renaissance, <a href="#Page_132">132</a>.<br />
+<br /><a name="residences" id="residences"></a>
+Residences of Dumas, <a href="#Page_44">44</a>, <a href="#Page_93">93</a>, <a href="#Page_103">103</a>, <a href="#Page_112">112</a>, <a href="#Page_124">124</a>, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>, <a href="#Page_150">150</a>, <a href="#Page_188">188</a>, <a href="#Page_220">220</a>, <a href="#Page_303">303</a>.<br />
+<br />
+Restaurant du Pavillon Henri Quatre, <a href="#Page_160">160</a>.<br />
+<br />
+&#8220;Restoration,&#8221; The, <a href="#Page_87">87</a>, <a href="#Page_138">138</a>, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>.<br />
+<br />
+Retz, Cardinal de, <a href="#Page_320">320</a>.<br />
+<br />
+Revolutions, The, <a href="#Page_4">4</a>, <a href="#Page_44">44</a>, <a href="#Page_136">136</a>, <a href="#Page_138">138</a>, <a href="#Page_140">140</a>, <a href="#Page_154">154</a>, <a href="#Page_164">164</a>, <a href="#Page_172">172</a>, <a href="#Page_178">178-180</a>, <a href="#Page_193">193</a>, <a href="#Page_196">196</a>, <a href="#Page_224">224</a>, <a href="#Page_227">227</a>, <a href="#Page_325">325</a>.<br />
+<br />
+<i>Revue des Deux Mondes</i>, <a href="#Page_371">371</a>.<br />
+<br />
+Rhine, The, <a href="#Page_8">8</a>.<br />
+<br />
+Rh&ocirc;ne, <a href="#Page_347">347</a>, <a href="#Page_349">349</a>.<br />
+<br /><a name="richelieu" id="richelieu"></a>
+Richelieu, <a href="#Page_37">37</a>, <a href="#Page_224">224</a>, <a href="#Page_225">225</a>, <a href="#Page_228">228</a>, <a href="#Page_244">244</a>, <a href="#Page_252">252</a>, <a href="#Page_266">266</a>, <a href="#Page_289">289</a>.<br />
+<br />
+Richelieu, Mar&eacute;chal, <a href="#Page_109">109</a>.<br />
+<br />
+Rizzio, <a href="#Page_324">324</a>.<br />
+<br />
+Roanne, <a href="#Page_160">160</a>.<br />
+<br />
+&#8220;Robert le Diable,&#8221; <a href="#Page_116">116</a>.<br />
+<br />
+Robespierre, <a href="#Page_324">324</a>.<br />
+<br />
+Robsart, Amy, <a href="#Page_121">121</a>.<br />
+<br />
+Roche-Bernard, <a href="#Page_329">329</a>.<br />
+<br />
+Rochefort, <a href="#Page_18">18</a>.<br />
+<span class="pagenum"><a name="Page_391" id="Page_391">[Pg 391]</a></span><br />
+Rohan, De, <a href="#Page_37">37</a>, <a href="#Page_224">224</a>.<br />
+<br />
+&#8220;Roi d&#8217;Yvetot&#8221; (B&eacute;ranger), <a href="#Page_71">71</a>.<br />
+<br />
+Roland, Madame, <a href="#Page_235">235</a>.<br />
+<br />
+Rolle, <a href="#Page_363">363</a>.<br />
+<br />
+Rollin, Ledru, <a href="#Page_179">179</a>.<br />
+<br />
+Rossini, <a href="#Page_82">82</a>.<br />
+<br />
+Rostand, <a href="#Page_43">43</a>.<br />
+<br />
+Rouen, <a href="#Page_77">77</a>, <a href="#Page_159">159</a>, <a href="#Page_160">160</a>, <a href="#Page_169">169</a>, <a href="#Page_327">327</a>.<br />
+<br />
+Rougemont, <a href="#Page_31">31</a>.<br />
+<br />
+Rousseau, <a href="#Page_7">7</a>.<br />
+<br />
+&#8220;Royal Tiger,&#8221; <a href="#Page_316">316</a>.<br />
+<br />
+Rubens, <a href="#Page_191">191</a>.<br />
+<br />
+Rue Beaubourg (Le Beau-Bourg), <a href="#Page_130">130</a>.<br />
+<br />
+Rue Beaujolais, <a href="#Page_228">228</a>.<br />
+<br />
+Rue Bourtebourg (Le Bourg Thibourg), <a href="#Page_130">130</a>.<br />
+<br />
+Rue Cassette, <a href="#Page_246">246</a>.<br />
+<br />
+Rue Castiglione, <a href="#Page_137">137</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Rue Charlot, <a href="#Page_228">228</a>.<br />
+<br />
+Rue Coq-H&eacute;ron, <a href="#Page_229">229-231</a>.<br />
+<br />
+Rue d&#8217;Amsterdam, <a href="#Page_188">188</a>.<br />
+<br />
+Rue Dauphine, <a href="#Page_133">133</a>.<br />
+<br />
+Rue de Bac, <a href="#Page_72">72</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Rue de Bethusy, <a href="#Page_278">278</a>.<br />
+<br />
+Rue de Bons Enfants, <a href="#Page_272">272</a>.<br />
+<br />
+Rue de Douai, <a href="#Page_187">187</a>.<br />
+<br />
+Rue de Faubourg St. Denis, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>.<br />
+<br />
+Rue de Grenelle, <a href="#Page_147">147</a>.<br />
+<br />
+Rue de l&#8217;Arbre-Sec, <a href="#Page_206">206</a>, <a href="#Page_211">211</a>.<br />
+<br />
+Rue de la Chauss&eacute;e d&#8217;Antin, <a href="#Page_147">147</a>, <a href="#Page_231">231</a>.<br />
+<br />
+Rue de la Concorde, <a href="#Page_183">183</a>.<br />
+<br />
+Rue de la Harpe, <a href="#Page_246">246</a>.<br />
+<br />
+Rue de Lancry, <a href="#Page_152">152</a>.<br />
+<br />
+Rue de la Martellerie, <a href="#Page_215">215</a>.<br />
+<br />
+Rue de Lille, <a href="#Page_255">255</a>.<br />
+<br />
+Rue de la Paix, <a href="#Page_137">137</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Rue de l&#8217;Universit&eacute;, <a href="#Page_147">147</a>.<br />
+<br />
+Rue de Rivoli, <a href="#Page_140">140</a>, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>.<br />
+<br />
+Rue des &Eacute;coles, <a href="#Page_140">140</a>.<br />
+<br />
+Rue des Fossoyeurs, <a href="#Page_246">246</a>, <a href="#Page_252">252</a>.<br />
+<br />
+Rue des Lombards, <a href="#Page_205">205</a>.<br />
+<br />
+Rue des Rosiers, <a href="#Page_227">227</a>.<br />
+<br />
+Rue des Vieux-Augustins, <a href="#Page_234">234</a>.<br />
+<br />
+Rue de Tivoli, <a href="#Page_137">137</a>.<br />
+<br />
+Rue de Valois, <a href="#Page_228">228</a>.<br />
+<br />
+Rue du Chaume, <a href="#Page_278">278</a>.<br />
+<br />
+Rue du Helder, <a href="#Page_213">213</a>, <a href="#Page_232">232</a>, <a href="#Page_255">255</a>.<br />
+<br />
+Rue du Louvre, <a href="#Page_230">230</a>.<br />
+<br />
+Rue du Monte Blanc, <a href="#Page_84">84</a>.<br />
+<br />
+Rue du Vieux-Colombier, <a href="#Page_251">251</a>, <a href="#Page_252">252</a>.<br />
+<br />
+Rue Drouet, <a href="#Page_95">95</a>.<br />
+<br />
+Rue Ferou, <a href="#Page_246">246</a>.<br />
+<br />
+Rue Guenegard, <a href="#Page_248">248</a>.<br />
+<br />
+Rue Herold, <a href="#Page_234">234</a>.<br />
+<br />
+Rue Lafitte, <a href="#Page_95">95</a>.<br />
+<br />
+Rue Lepelletier, <a href="#Page_114">114</a>.<br />
+<br />
+Rue Louis le Grand, <a href="#Page_94">94</a>.<br />
+<br />
+Rue Mathieu Moll&eacute;, <a href="#Page_212">212</a>.<br />
+<br />
+Rue Pelletier, <a href="#Page_234">234</a>.<br />
+<br />
+Rue Pigalle, <a href="#Page_187">187</a>.<br />
+<br />
+Rue Rambuteau, <a href="#Page_92">92</a>.<br />
+<br />
+Rue Richelieu, <a href="#Page_102">102</a>, <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Rue Roquette, <a href="#Page_225">225</a>.<br />
+<br />
+Rue Royal, <a href="#Page_183">183</a>.<br />
+<br />
+Rue Servandoni, <a href="#Page_246">246</a>.<br />
+<br />
+Rue Sourdi&egrave;re, <a href="#Page_228">228</a>.<br />
+<br />
+Rue St. Antoine, <a href="#Page_131">131</a>, <a href="#Page_133">133</a>, <a href="#Page_147">147</a>, <a href="#Page_285">285</a>.<br />
+<br />
+Rue St. Denis, <a href="#Page_220">220</a>.<br />
+<br />
+Rue St. Eleuth&egrave;re, <a href="#Page_227">227</a>.<br />
+<br />
+Rue St. Honor&eacute;, <a href="#Page_147">147</a>, <a href="#Page_228">228</a>.<br />
+<br />
+Rue St. Lazare, <a href="#Page_188">188</a>.<br />
+<br />
+Rue St. Martin (Le Bourg St. Martin), <a href="#Page_130">130</a>.<br />
+<br />
+Rue St. Roch, <a href="#Page_148">148</a>.<br />
+<br />
+Rue Taitbout, <a href="#Page_214">214</a>, <a href="#Page_231">231</a>.<br />
+<br />
+Rue Tiquetonne, <a href="#Page_214">214</a>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>.<br />
+<br />
+Rue Vaugirard, <a href="#Page_127">127</a>, <a href="#Page_246">246</a>, <a href="#Page_252">252</a>.<br />
+<br />
+Rue Vivienne, <a href="#Page_147">147</a>.<br />
+<br />
+Rupert, Prince, <a href="#Page_50">50</a>.<br />
+<br />
+Russia, <a href="#Page_8">8</a>, <a href="#Page_44">44</a>.<br />
+<span class="pagenum"><a name="Page_392" id="Page_392">[Pg 392]</a></span><br />
+<br />
+Sabot, Mother, <a href="#Page_24">24</a>.<br />
+<br />
+Sainte Chapelle, <a href="#Page_236">236</a>.<br />
+<br />
+Saint Foix, <a href="#Page_135">135</a>.<br />
+<br />
+Salc&egrave;de, <a href="#Page_201">201</a>.<br />
+<br />
+Salon d&#8217;Automne, <a href="#Page_191">191</a>.<br />
+<br />
+Salons, <a href="#Page_161">161</a>.<br />
+<br />
+Salp&ecirc;tri&egrave;re, The, <a href="#Page_134">134</a>.<br />
+<br />
+Sand, George, <a href="#Page_44">44</a>, <a href="#Page_70">70</a>, <a href="#Page_97">97</a>, <a href="#Page_188">188</a>, <a href="#Page_363">363</a>.<br />
+<br />
+Sand, Karl Ludwig, <a href="#Page_285">285</a>.<br />
+<br />
+Sa&ocirc;ne, <a href="#Page_168">168</a>.<br />
+<br />
+Sarcey, Francisque, <a href="#Page_163">163</a>.<br />
+<br />
+Sardou, <a href="#Page_122">122</a>.<br />
+<br />
+&#8220;Saul,&#8221; <a href="#Page_18">18</a>.<br />
+<br />
+Schiller, <a href="#Page_360">360</a>.<br />
+<br />
+Scotland, <a href="#Page_323">323</a>.<br />
+<br />
+Scott, Sir Walter, <a href="#Page_13">13</a>, <a href="#Page_41">41</a>, <a href="#Page_74">74</a>, <a href="#Page_121">121</a>, <a href="#Page_360">360</a>.<br />
+<br />
+Scribe, Eugene, <a href="#Page_70">70</a>, <a href="#Page_82">82</a>, <a href="#Page_187">187</a>.<br />
+<br />
+Sebastiani, General, <a href="#Page_84">84</a>.<br />
+<br />
+Second Empire, <a href="#Page_89">89</a>, <a href="#Page_138">138</a>, <a href="#Page_140">140</a>, <a href="#Page_153">153</a>, <a href="#Page_163">163</a>, <a href="#Page_193">193</a>.<br />
+<br />
+Second Republic, <a href="#Page_89">89</a>, <a href="#Page_181">181</a>.<br />
+<br />
+Seine, The, <a href="#Page_72">72</a>, <a href="#Page_98">98</a>, <a href="#Page_130">130</a>, <a href="#Page_137">137</a>, <a href="#Page_148">148</a>, <a href="#Page_156">156</a>, <a href="#Page_165">165-171</a>, <a href="#Page_173">173-175</a>, <a href="#Page_190">190</a>, <a href="#Page_248">248</a>, <a href="#Page_255">255</a>, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>, <a href="#Page_311">311</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Senlis, <a href="#Page_317">317</a>.<br />
+<br />
+Sens, <a href="#Page_46">46</a>.<br />
+<br />
+S&eacute;vign&eacute;, Madame de, <a href="#Page_102">102</a>, <a href="#Page_223">223</a>.<br />
+<br />
+Seville, <a href="#Page_76">76</a>.<br />
+<br />
+Shakespeare, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Sicily, <a href="#Page_337">337</a>, <a href="#Page_369">369</a>.<br />
+<br />
+Sillegue, Colonel de, <a href="#Page_49">49</a>.<br />
+<br />
+&#8220;Site d&#8217;Italie&#8221; (Corot), <a href="#Page_72">72</a>.<br />
+<br />
+Smith, William, <a href="#Page_179">179</a>.<br />
+<br />
+&#8220;Soir&#8221; (Corot), <a href="#Page_72">72</a>.<br />
+<br />
+Soissons, <a href="#Page_7">7</a>.<br />
+<br />
+Soldain, <a href="#Page_259">259</a>.<br />
+<br />
+Sorbonne, <a href="#Page_134">134</a>, <a href="#Page_167">167</a>, <a href="#Page_245">245</a>.<br />
+<br />
+Sorbonne, Robert de, <a href="#Page_244">244</a>.<br />
+<br />
+Souli&eacute;, <a href="#Page_68">68</a>, <a href="#Page_82">82</a>, <a href="#Page_121">121</a>.<br />
+<br />
+Soumet, <a href="#Page_18">18</a>.<br />
+<br />
+Soyer, <a href="#Page_103">103</a>.<br />
+<br />
+Spain, <a href="#Page_8">8</a>, <a href="#Page_45">45</a>, <a href="#Page_160">160</a>.<br />
+<br />
+St. Bartholomew&#8217;s Night, <a href="#Page_259">259</a>, <a href="#Page_263">263</a>.<br />
+<br />
+St. Beauvet, <a href="#Page_69">69</a>.<br />
+<br />
+St. B&eacute;nezet d&#8217;Avignon, <a href="#Page_172">172</a>.<br />
+<br />
+St. Cloud, <a href="#Page_157">157</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Ste. Croix, Gaudin de, <a href="#Page_286">286</a>.<br />
+<br />
+St. Denis, <a href="#Page_227">227</a>, <a href="#Page_314">314</a>.<br />
+<br />
+St. Denis, Abbey of, <a href="#Page_142">142</a>, <a href="#Page_143">143</a>.<br />
+<br />
+St. Etienne-Andr&eacute;zieux, <a href="#Page_160">160</a>.<br />
+<br />
+Ste. Genevi&egrave;ve, <a href="#Page_253">253</a>, <a href="#Page_254">254</a>.<br />
+<br />
+Ste. Genevieve, Abbey of <a href="#Page_37">37</a>, <a href="#Page_136">136</a>, <a href="#Page_187">187</a>, <a href="#Page_253">253</a>.<br />
+<br />
+St. Germain, <a href="#Page_44">44</a>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, <a href="#Page_160">160</a>, <a href="#Page_267">267</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>.<br />
+<br />
+St. Germain, Abbot of, <a href="#Page_166">166</a>.<br />
+<br />
+St. Germain des Pr&eacute;s, <a href="#Page_130">130</a>.<br />
+<br />
+St. Germain-en-Laye, <a href="#Page_303">303</a>, <a href="#Page_304">304</a>, <a href="#Page_310">310-315</a>.<br />
+<br />
+St. Germain l&#8217;Auxerrois, <a href="#Page_187">187</a>.<br />
+<br />
+St. Gratien, <a href="#Page_125">125</a>.<br />
+<br />
+St. Luc, Marquis, <a href="#Page_255">255</a>.<br />
+<br />
+St. M&eacute;grin, <a href="#Page_122">122</a>.<br />
+<br />
+St. Michel, <a href="#Page_130">130</a>.<br />
+<br />
+St. Vincent de Paul, <a href="#Page_224">224</a>.<br />
+<br />
+St. Victor, <a href="#Page_130">130</a>.<br />
+<br />
+St. Waast, Abbey of, <a href="#Page_324">324</a>.<br />
+<br />
+Stendhal, <a href="#Page_155">155</a>.<br />
+<br />
+Sterne, <a href="#Page_322">322</a>.<br />
+<br />
+Stevenson, R. L., <a href="#Page_41">41</a>, <a href="#Page_44">44</a>.<br />
+<br />
+Strasbourg (monument), <a href="#Page_138">138</a>, <a href="#Page_162">162</a>.<br />
+<br />
+Strasbourg, <a href="#Page_157">157</a>.<br />
+<br />
+&#8220;Stryge, The,&#8221; <a href="#Page_127">127</a>.<br />
+<br />
+Stuart, Mary, <a href="#Page_323">323</a>.<br />
+<br />
+Sue, Eug&egrave;ne, <a href="#Page_69">69</a>, <a href="#Page_99">99</a>, <a href="#Page_363">363</a>.<br />
+<br />
+Switzerland, <a href="#Page_8">8</a>, <a href="#Page_370">370</a>.<br />
+<br />
+&#8220;Sword of the Brave Chevalier,&#8221; <a href="#Page_251">251</a>.<br />
+<br />
+Sylla, <a href="#Page_17">17</a>.<br />
+<br />
+Sylvestre&#8217;s, <a href="#Page_272">272</a>.<br />
+<br />
+<br />
+Taglioni, Marie, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>.<br />
+<br />
+Talleyrand, Henri de, <a href="#Page_214">214</a>.<br />
+<br />
+Talma, <a href="#Page_17">17</a>, <a href="#Page_82">82</a>, <a href="#Page_121">121</a>, <a href="#Page_191">191</a>.<br />
+<br />
+Tarascon, <a href="#Page_349">349</a>.<br />
+<span class="pagenum"><a name="Page_393" id="Page_393">[Pg 393]</a></span><br />
+Tastu, Mme. Amable, <a href="#Page_70">70</a>.<br />
+<br />
+Thackeray, <a href="#Page_44">44</a>.<br />
+<br />
+Thames, <a href="#Page_168">168</a>.<br />
+<br />
+Th&eacute;&acirc;tre de la Nation, <a href="#Page_183">183</a>.<br />
+<br />
+Th&eacute;&acirc;tre du Palais Royal, <a href="#Page_77">77</a>, <a href="#Page_268">268</a>.<br />
+<br />
+Th&eacute;&acirc;tre Fran&ccedil;aise, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_121">121</a>, <a href="#Page_167">167</a>, <a href="#Page_183">183</a>, <a href="#Page_187">187</a>.<br />
+<br />
+&#8220;Th&eacute;&acirc;tre Historique,&#8221; <a href="#Page_44">44</a>.<br />
+<br />
+Th&eacute;&acirc;tre Italien, <a href="#Page_133">133</a>.<br />
+<br />
+Theadlon, <a href="#Page_18">18</a>.<br />
+<br />
+Th&eacute;aulon, <a href="#Page_31">31</a>.<br />
+<br />
+&#8220;The Conspirators,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;The Queen&#8217;s Necklace,&#8221; (Le Collier de la Reine), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;The Regent&#8217;s Daughter,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;The Sorbonne,&#8221; <a href="#Page_244">244</a>.<br />
+<br />
+&#8220;The Taking of the Bastille,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+&#8220;The Wandering Jew,&#8221; <a href="#Page_99">99</a>.<br />
+<br />
+&#8220;The Wolf-Leader,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Thierry, Edouard, <a href="#Page_155">155</a>, <a href="#Page_165">165</a>.<br />
+<br />
+Thiers, <a href="#Page_69">69</a>, <a href="#Page_95">95</a>.<br />
+<br />
+&#8220;Third Republic,&#8221; <a href="#Page_193">193</a>.<br />
+<br />
+Titian, <a href="#Page_191">191</a>.<br />
+<br /><a name="title" id="title"></a>
+Title of Dumas, <a href="#Page_45">45</a>, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>.<br />
+<br />
+Touchet, Marie, <a href="#Page_215">215</a>, <a href="#Page_217">217</a>.<br />
+<br />
+Toul, <a href="#Page_160">160</a>.<br />
+<br />
+Toulon, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>, <a href="#Page_233">233</a>, <a href="#Page_326">326</a>, <a href="#Page_349">349</a>, <a href="#Page_351">351</a>.<br />
+<br />
+Toulouse, <a href="#Page_159">159</a>.<br />
+<br />
+&#8220;Tour de Jean-sans-Peur,&#8221; <a href="#Page_214">214</a>.<br />
+<br />
+Tour de Nesle, <a href="#Page_237">237</a>.<br />
+<br />
+Tour de St. Jacques la Boucherie, <a href="#Page_197">197</a>.<br />
+<br />
+Tour du Bois, <a href="#Page_131">131</a>.<br />
+<br />
+Tour Eiffel, <a href="#Page_303">303</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Tours, <a href="#Page_332">332</a>.<br />
+<br />
+Tour St. Jacques, <a href="#Page_140">140</a>, <a href="#Page_167">167</a>, <a href="#Page_187">187</a>, <a href="#Page_263">263</a>.<br />
+<br />
+Tower of London, <a href="#Page_185">185</a>.<br />
+<br />
+&#8220;Travels,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br /><a name="travels" id="travels"></a>
+Travels of Dumas, <a href="#Page_8">8</a>, <a href="#Page_44">44-46</a>, <a href="#Page_336">336</a>, <a href="#Page_337">337</a>, <a href="#Page_361">361</a>, <a href="#Page_364">364</a>, <a href="#Page_370">370</a>, <a href="#Page_371">371</a>.<br />
+<br />
+&#8220;Treasure Island,&#8221; <a href="#Page_42">42</a>.<br />
+<br />
+Treville, De, <a href="#Page_49">49</a>, <a href="#Page_246">246</a>, <a href="#Page_251">251</a>.<br />
+<br />
+Trianon, The, <a href="#Page_303">303</a>.<br />
+<br />
+Trocadero, <a href="#Page_147">147</a>.<br />
+<br />
+Trouville, <a href="#Page_325">325</a>, <a href="#Page_327">327</a>, <a href="#Page_371">371</a>.<br />
+<br />
+Tuileries, The, <a href="#Page_72">72</a>, <a href="#Page_133">133</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_150">150</a>, <a href="#Page_170">170</a>, <a href="#Page_176">176</a>, <a href="#Page_182">182</a>, <a href="#Page_184">184</a>, <a href="#Page_185">185</a>, <a href="#Page_261">261</a>, <a href="#Page_265">265</a>.<br />
+<br />
+Turenne, <a href="#Page_90">90</a>, <a href="#Page_143">143</a>, <a href="#Page_224">224</a>.<br />
+<br />
+<br />
+Universit&eacute;, The, <a href="#Page_167">167</a>, <a href="#Page_244">244</a>.<br />
+<br />
+<br />
+Val-de-Grace, The, <a href="#Page_134">134</a>.<br />
+<br />
+Valenciennes, <a href="#Page_49">49</a>.<br />
+<br /><a name="valois" id="valois"></a>
+Valois, House of, <a href="#Page_12">12</a>, <a href="#Page_34">34</a>, <a href="#Page_38">38</a>, <a href="#Page_195">195</a>, <a href="#Page_318">318</a>.<br />
+<br />
+Valois, Marguerite de, <a href="#Page_197">197</a>, <a href="#Page_287">287</a>, <a href="#Page_351">351</a>, <a href="#Page_354">354</a>.<br />
+<br />
+Valois Romances, <a href="#Page_15">15</a>, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_148">148</a>, <a href="#Page_171">171</a>, <a href="#Page_195">195</a>, <a href="#Page_205">205</a>, <a href="#Page_215">215</a>, <a href="#Page_225">225</a>, <a href="#Page_235">235</a>, <a href="#Page_239">239</a>, <a href="#Page_254">254</a>, <a href="#Page_258">258</a>, <a href="#Page_259">259</a>, <a href="#Page_263">263</a>, <a href="#Page_266">266</a>, <a href="#Page_278">278</a>, <a href="#Page_312">312</a>, <a href="#Page_314">314</a>, <a href="#Page_354">354</a>, <a href="#Page_355">355</a>.<br />
+<br />
+Vandam, Albert, <a href="#Page_6">6</a>, <a href="#Page_56">56</a>, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_116">116</a>, <a href="#Page_118">118</a>.<br />
+<br />
+Van Dyke, <a href="#Page_191">191</a>.<br />
+<br />
+Vatel, <a href="#Page_199">199</a>.<br />
+<br />
+Vermandois, Count of, <a href="#Page_289">289</a>.<br />
+<br />
+Vernet, <a href="#Page_191">191</a>.<br />
+<br />
+Vernon, <a href="#Page_165">165</a>, <a href="#Page_169">169</a>.<br />
+<br />
+V&eacute;ron, Doctor, <a href="#Page_79">79</a>, <a href="#Page_111">111</a>, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>.<br />
+<br />
+Versailles, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_302">302-306</a>.<br />
+<br />
+Vesinet, <a href="#Page_311">311</a>.<br />
+<br />
+&#8220;Vicomte de Bragelonne,&#8221; see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Vidocq, <a href="#Page_234">234</a>.<br />
+<br />
+Viennet, <a href="#Page_18">18</a>.<br />
+<br />
+Vieux Ch&acirc;teau, <a href="#Page_311">311</a>, <a href="#Page_312">312</a>, <a href="#Page_313">313</a>, <a href="#Page_314">314</a>.<br />
+<br />
+Vigny, De, <a href="#Page_68">68</a>.<br />
+<br />
+Villefort, De, <a href="#Page_261">261</a>, <a href="#Page_340">340</a>.<br />
+<span class="pagenum"><a name="Page_394" id="Page_394">[Pg 394]</a></span><br />
+Villemessant, De, <a href="#Page_52">52</a>.<br />
+<br />
+Villers-Cotterets, <a href="#Page_7">7</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_27">27</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_46">46</a>, <a href="#Page_80">80</a>, <a href="#Page_315">315</a>, <a href="#Page_317">317</a>, <a href="#Page_318">318</a>, <a href="#Page_321">321</a>.<br />
+<br />
+Vincennes, <a href="#Page_179">179</a>, <a href="#Page_315">315</a>.<br />
+<br />
+Vincennes, Ch&acirc;teau of, <a href="#Page_298">298</a>, <a href="#Page_320">320</a>.<br />
+<br />
+Vincennes, Fort of, <a href="#Page_320">320</a>.<br />
+<br />
+&#8220;Vingt Ans Apr&egrave;s&#8221; (&#8220;Twenty Years After&#8221;), see <a href="#works">Works of Dumas</a>.<br />
+<br />
+Viollet-le-Duc, <a href="#Page_144">144</a>, <a href="#Page_325">325</a>.<br />
+<br />
+Vivi&egrave;res, <a href="#Page_24">24</a>.<br />
+<br />
+Voltaire, <a href="#Page_121">121</a>, <a href="#Page_122">122</a>, <a href="#Page_238">238</a>, <a href="#Page_288">288</a>, <a href="#Page_303">303</a>.<br />
+<br />
+Volterre, Ricciarelli de, <a href="#Page_224">224</a>.<br />
+<br />
+<br />
+Wardes, De, <a href="#Page_322">322</a>.<br />
+<br />
+Warsaw, <a href="#Page_76">76</a>.<br />
+<br />
+Waterloo, <a href="#Page_25">25</a>.<br />
+<br />
+William III., <a href="#Page_361">361</a>.<br />
+<br />
+William the Conqueror, <a href="#Page_326">326</a>.<br />
+<br />
+Windt, Cornelius de, <a href="#Page_361">361</a>.<br />
+<br />
+Windt, Jacobus de, <a href="#Page_361">361</a>.<br />
+<br />
+Windsor, <a href="#Page_154">154</a>.<br />
+<br />
+Winter, Lady de, <a href="#Page_223">223</a>.<br />
+<br /><a name="works" id="works"></a>
+Works of Dumas:<br />
+<span style="margin-left: 1em;">&#8220;Ange Pitou,&#8221; <a href="#Page_36">36</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Antony,&#8221; <a href="#Page_29">29</a>, <a href="#Page_37">37</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Black Tulip&#8221; (&#8220;La Tulipe Noire&#8221;), <a href="#Page_38">38</a>, <a href="#Page_44">44</a>, <a href="#Page_360">360-362</a>, <a href="#Page_365">365</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Capitaine Pamphile,&#8221; <a href="#Page_89">89</a>, <a href="#Page_221">221</a>, <a href="#Page_231">231</a>, <a href="#Page_360">360</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Capitaine Paul&#8221; (&#8220;Paul Jones&#8221;), <a href="#Page_38">38</a>, <a href="#Page_350">350</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Causeries,&#8221; <a href="#Page_36">36</a>, <a href="#Page_103">103</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Cherubino et Celestine,&#8221; <a href="#Page_367">367</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Chevalier d&#8217;Harmental,&#8221; <a href="#Page_228">228</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Chicot the Jester&#8221; (&#8220;La Dame de Monsoreau&#8221;), <a href="#Page_29">29</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_40">40</a>, <a href="#Page_207">207</a>, <a href="#Page_253">253</a>, <a href="#Page_255">255</a>, <a href="#Page_301">301</a>, <a href="#Page_319">319</a>, <a href="#Page_329">329</a>, <a href="#Page_332">332</a>, <a href="#Page_333">333</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Comtesse de Charny,&#8221; <a href="#Page_223">223</a>, <a href="#Page_226">226</a>, <a href="#Page_229">229</a>, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Corsican Brothers,&#8221; <a href="#Page_89">89</a>, <a href="#Page_213">213</a>, <a href="#Page_231">231</a>, <a href="#Page_319">319</a>, <a href="#Page_360">360</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Count of Monte Cristo,&#8221; <a href="#Page_29">29</a>, <a href="#Page_38">38-41</a>, <a href="#Page_44">44</a>, <a href="#Page_109">109</a>, <a href="#Page_218">218</a>, <a href="#Page_229">229</a>, <a href="#Page_261">261</a>, <a href="#Page_327">327</a>, <a href="#Page_328">328</a>, <a href="#Page_339">339</a>, <a href="#Page_340">340</a>, <a href="#Page_342">342</a>, <a href="#Page_343">343</a>, <a href="#Page_347">347</a>, <a href="#Page_355">355</a>, <a href="#Page_358">358</a>, <a href="#Page_361">361</a>, <a href="#Page_368">368</a>, <a href="#Page_369">369</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Crimes C&eacute;l&egrave;bres&#8221; (&#8220;Celebrated Crimes&#8221;), <a href="#Page_285">285</a>, <a href="#Page_286">286</a>, <a href="#Page_323">323</a>, <a href="#Page_350">350</a>, <a href="#Page_372">372</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Dictionnaire de Cuisine,&#8221; <a href="#Page_63">63</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Dix-huit Mois &agrave; St. Petersburgh,&#8221; <a href="#Page_364">364</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Forty-Five Guardsmen,&#8221; <a href="#Page_201">201</a>, <a href="#Page_248">248</a>, <a href="#Page_351">351</a>, <a href="#Page_365">365</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Gabriel Lambert,&#8221; <a href="#Page_89">89</a>, <a href="#Page_91">91</a>, <a href="#Page_231">231</a>, <a href="#Page_232">232</a>, <a href="#Page_350">350</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Georges,&#8221; <a href="#Page_46">46</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Henri III. et Sa Cour,&#8221; <a href="#Page_29">29</a>, <a href="#Page_121">121</a>, <a href="#Page_123">123</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Impressions du Voyage,&#8221; <a href="#Page_36">36</a>, <a href="#Page_325">325</a>, <a href="#Page_364">364</a>, <a href="#Page_370">370</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Jeanne d&#8217;Arc,&#8221; <a href="#Page_38">38</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Kean,&#8221; <a href="#Page_29">29</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;La Tour de Nesle,&#8221; <a href="#Page_237">237</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Les P&ecirc;cheurs du Filet,&#8221; <a href="#Page_368">368</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Les Trois Mousquetaires&#8221; (&#8220;The Three Musketeers&#8221;), <a href="#Page_29">29</a>, <a href="#Page_38">38-41</a>, <a href="#Page_44">44</a>, <a href="#Page_48">48</a>, <a href="#Page_54">54</a>, <a href="#Page_75">75</a>, <a href="#Page_126">126</a>, <a href="#Page_127">127</a>, <a href="#Page_245">245</a>, <a href="#Page_247">247</a>, <a href="#Page_251">251</a>, <a href="#Page_252">252</a>, <a href="#Page_332">332</a>, <a href="#Page_361">361</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Ma&icirc;tre Adam le Calabrais,&#8221; <a href="#Page_367">367</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Marguerite de Valois,&#8221; <a href="#Page_173">173</a>, <a href="#Page_175">175</a>, <a href="#Page_198">198</a>, <a href="#Page_210">210</a>, <a href="#Page_212">212</a>, <a href="#Page_215">215</a>, <a href="#Page_221">221</a>, <a href="#Page_236">236</a>, <a href="#Page_257">257</a>, <a href="#Page_307">307</a>, <a href="#Page_310">310</a>, <a href="#Page_311">311</a>, <a href="#Page_320">320</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;M&eacute;moires,&#8221; <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a>, <a href="#Page_44">44</a>, <a href="#Page_70">70</a>, <a href="#Page_93">93</a>, <a href="#Page_104">104</a>, <a href="#Page_174">174</a>, <a href="#Page_228">228</a>, <a href="#Page_325">325</a>, <a href="#Page_367">367</a>.</span><br />
+<span class="pagenum"><a name="Page_395" id="Page_395">[Pg 395]</a></span><span style="margin-left: 1em;">&#8220;M&eacute;moires d&#8217;un Ma&icirc;tre d&#8217;Armes,&#8221; <a href="#Page_75">75</a>, <a href="#Page_364">364</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Mes B&ecirc;tes,&#8221; <a href="#Page_36">36</a>, <a href="#Page_45">45</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Murat,&#8221; <a href="#Page_367">367</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Pascal Bruno,&#8221; <a href="#Page_367">367</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Pauline,&#8221; <a href="#Page_171">171</a>, <a href="#Page_180">180</a>, <a href="#Page_231">231</a>, <a href="#Page_325">325</a>, <a href="#Page_367">367</a>, <a href="#Page_370">370</a>, <a href="#Page_371">371</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;The Conspirators,&#8221; <a href="#Page_173">173</a>, <a href="#Page_271">271</a>, <a href="#Page_287">287</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;The Queen&#8217;s Necklace,&#8221; (&#8220;Le Collier de la Reine&#8221;), <a href="#Page_105">105</a>, <a href="#Page_118">118</a>, <a href="#Page_204">204</a>, <a href="#Page_228">228</a>, <a href="#Page_241">241</a>, <a href="#Page_254">254</a>, <a href="#Page_255">255</a>, <a href="#Page_275">275</a>, <a href="#Page_295">295</a>, <a href="#Page_303">303</a>, <a href="#Page_306">306</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;The Regent&#8217;s Daughter,&#8221; <a href="#Page_292">292</a>, <a href="#Page_316">316</a>, <a href="#Page_334">334-336</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;The Taking of the Bastille,&#8221; <a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a href="#Page_46">46</a>, <a href="#Page_175">175</a>, <a href="#Page_225">225</a>, <a href="#Page_250">250</a>, <a href="#Page_279">279</a>, <a href="#Page_288">288</a>, <a href="#Page_303">303</a>, <a href="#Page_317">317</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;The Wolf-Leader,&#8221; <a href="#Page_33">33</a>, <a href="#Page_46">46</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Vicomte de Bragelonne,&#8221; <a href="#Page_24">24</a>, <a href="#Page_29">29</a>, <a href="#Page_38">38</a>, <a href="#Page_169">169</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_205">205</a>, <a href="#Page_247">247</a>, <a href="#Page_259">259</a>, <a href="#Page_273">273</a>, <a href="#Page_288">288</a>, <a href="#Page_292">292</a>, <a href="#Page_298">298</a>, <a href="#Page_300">300</a>, <a href="#Page_321">321</a>, <a href="#Page_328">328</a>, <a href="#Page_330">330</a>, <a href="#Page_332">332</a>.</span><br />
+<span style="margin-left: 1em;">&#8220;Vingt Ans Apr&egrave;s&#8221; (&#8220;Twenty Years After&#8221;), <a href="#Page_29">29</a>, <a href="#Page_214">214</a>, <a href="#Page_225">225</a>, <a href="#Page_245">245-247</a>, <a href="#Page_303">303</a>, <a href="#Page_310">310</a>, <a href="#Page_324">324</a>.</span><br />
+<br />
+<br />
+Zola, <a href="#Page_7">7</a>, <a href="#Page_44">44</a>, <a href="#Page_64">64</a>, <a href="#Page_129">129</a>, <a href="#Page_188">188</a>.</p></div>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><strong>Transcriber&#8217;s Notes:</strong></p>
+
+<p>Images have been moved from the middle of a paragraph to a nearby paragraph break.</p>
+
+<p>The text in the list of illustrations is presented as in the original text, but the links
+navigate to the page number closest to the illustration&#8217;s loaction in this document.</p>
+
+<p>Punctuation has been corrected without note.</p>
+
+<p>Errors in quotations, place names, and the French passages have been retained from the original.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Dumas' Paris, by Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK DUMAS' PARIS ***
+
+***** This file should be named 35125-h.htm or 35125-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/1/2/35125/
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/35125-h/images/cover.jpg b/35125-h/images/cover.jpg
new file mode 100644
index 0000000..1c05d21
--- /dev/null
+++ b/35125-h/images/cover.jpg
diff --git a/35125-h/images/fp_122.jpg b/35125-h/images/fp_122.jpg
new file mode 100644
index 0000000..1a0f787
--- /dev/null
+++ b/35125-h/images/fp_122.jpg
diff --git a/35125-h/images/fp_134.jpg b/35125-h/images/fp_134.jpg
new file mode 100644
index 0000000..c5ea9b3
--- /dev/null
+++ b/35125-h/images/fp_134.jpg
diff --git a/35125-h/images/fp_14.jpg b/35125-h/images/fp_14.jpg
new file mode 100644
index 0000000..246aee0
--- /dev/null
+++ b/35125-h/images/fp_14.jpg
diff --git a/35125-h/images/fp_142.jpg b/35125-h/images/fp_142.jpg
new file mode 100644
index 0000000..c54d4f3
--- /dev/null
+++ b/35125-h/images/fp_142.jpg
diff --git a/35125-h/images/fp_154.jpg b/35125-h/images/fp_154.jpg
new file mode 100644
index 0000000..e074193
--- /dev/null
+++ b/35125-h/images/fp_154.jpg
diff --git a/35125-h/images/fp_166.jpg b/35125-h/images/fp_166.jpg
new file mode 100644
index 0000000..49985b6
--- /dev/null
+++ b/35125-h/images/fp_166.jpg
diff --git a/35125-h/images/fp_182.jpg b/35125-h/images/fp_182.jpg
new file mode 100644
index 0000000..8b89a30
--- /dev/null
+++ b/35125-h/images/fp_182.jpg
diff --git a/35125-h/images/fp_188_bot.jpg b/35125-h/images/fp_188_bot.jpg
new file mode 100644
index 0000000..58c0a6a
--- /dev/null
+++ b/35125-h/images/fp_188_bot.jpg
diff --git a/35125-h/images/fp_188_top.jpg b/35125-h/images/fp_188_top.jpg
new file mode 100644
index 0000000..b387f9a
--- /dev/null
+++ b/35125-h/images/fp_188_top.jpg
diff --git a/35125-h/images/fp_196.jpg b/35125-h/images/fp_196.jpg
new file mode 100644
index 0000000..6b6b323
--- /dev/null
+++ b/35125-h/images/fp_196.jpg
diff --git a/35125-h/images/fp_198.jpg b/35125-h/images/fp_198.jpg
new file mode 100644
index 0000000..451c6ff
--- /dev/null
+++ b/35125-h/images/fp_198.jpg
diff --git a/35125-h/images/fp_206.jpg b/35125-h/images/fp_206.jpg
new file mode 100644
index 0000000..b27dc96
--- /dev/null
+++ b/35125-h/images/fp_206.jpg
diff --git a/35125-h/images/fp_214.jpg b/35125-h/images/fp_214.jpg
new file mode 100644
index 0000000..565d4b5
--- /dev/null
+++ b/35125-h/images/fp_214.jpg
diff --git a/35125-h/images/fp_220.jpg b/35125-h/images/fp_220.jpg
new file mode 100644
index 0000000..ee911c2
--- /dev/null
+++ b/35125-h/images/fp_220.jpg
diff --git a/35125-h/images/fp_234.jpg b/35125-h/images/fp_234.jpg
new file mode 100644
index 0000000..3aaea80
--- /dev/null
+++ b/35125-h/images/fp_234.jpg
diff --git a/35125-h/images/fp_236.jpg b/35125-h/images/fp_236.jpg
new file mode 100644
index 0000000..19cbf96
--- /dev/null
+++ b/35125-h/images/fp_236.jpg
diff --git a/35125-h/images/fp_236_tmb.jpg b/35125-h/images/fp_236_tmb.jpg
new file mode 100644
index 0000000..f0a49e6
--- /dev/null
+++ b/35125-h/images/fp_236_tmb.jpg
diff --git a/35125-h/images/fp_246.jpg b/35125-h/images/fp_246.jpg
new file mode 100644
index 0000000..5975f4b
--- /dev/null
+++ b/35125-h/images/fp_246.jpg
diff --git a/35125-h/images/fp_256.jpg b/35125-h/images/fp_256.jpg
new file mode 100644
index 0000000..76d7486
--- /dev/null
+++ b/35125-h/images/fp_256.jpg
diff --git a/35125-h/images/fp_256_tmb.jpg b/35125-h/images/fp_256_tmb.jpg
new file mode 100644
index 0000000..59a2f3e
--- /dev/null
+++ b/35125-h/images/fp_256_tmb.jpg
diff --git a/35125-h/images/fp_26.jpg b/35125-h/images/fp_26.jpg
new file mode 100644
index 0000000..43e3213
--- /dev/null
+++ b/35125-h/images/fp_26.jpg
diff --git a/35125-h/images/fp_264.jpg b/35125-h/images/fp_264.jpg
new file mode 100644
index 0000000..c6aee28
--- /dev/null
+++ b/35125-h/images/fp_264.jpg
diff --git a/35125-h/images/fp_268.jpg b/35125-h/images/fp_268.jpg
new file mode 100644
index 0000000..feb3b3f
--- /dev/null
+++ b/35125-h/images/fp_268.jpg
diff --git a/35125-h/images/fp_26_tmb.jpg b/35125-h/images/fp_26_tmb.jpg
new file mode 100644
index 0000000..c86ec78
--- /dev/null
+++ b/35125-h/images/fp_26_tmb.jpg
diff --git a/35125-h/images/fp_284.jpg b/35125-h/images/fp_284.jpg
new file mode 100644
index 0000000..f6befb8
--- /dev/null
+++ b/35125-h/images/fp_284.jpg
diff --git a/35125-h/images/fp_302.jpg b/35125-h/images/fp_302.jpg
new file mode 100644
index 0000000..15894c8
--- /dev/null
+++ b/35125-h/images/fp_302.jpg
diff --git a/35125-h/images/fp_314.jpg b/35125-h/images/fp_314.jpg
new file mode 100644
index 0000000..9a9fd56
--- /dev/null
+++ b/35125-h/images/fp_314.jpg
diff --git a/35125-h/images/fp_318.jpg b/35125-h/images/fp_318.jpg
new file mode 100644
index 0000000..1f53c97
--- /dev/null
+++ b/35125-h/images/fp_318.jpg
diff --git a/35125-h/images/fp_324.jpg b/35125-h/images/fp_324.jpg
new file mode 100644
index 0000000..30a8902
--- /dev/null
+++ b/35125-h/images/fp_324.jpg
diff --git a/35125-h/images/fp_328.jpg b/35125-h/images/fp_328.jpg
new file mode 100644
index 0000000..8128904
--- /dev/null
+++ b/35125-h/images/fp_328.jpg
diff --git a/35125-h/images/fp_332.jpg b/35125-h/images/fp_332.jpg
new file mode 100644
index 0000000..3b89d3b
--- /dev/null
+++ b/35125-h/images/fp_332.jpg
diff --git a/35125-h/images/fp_36.jpg b/35125-h/images/fp_36.jpg
new file mode 100644
index 0000000..61dfd91
--- /dev/null
+++ b/35125-h/images/fp_36.jpg
diff --git a/35125-h/images/fp_36_tmb.jpg b/35125-h/images/fp_36_tmb.jpg
new file mode 100644
index 0000000..36d62bd
--- /dev/null
+++ b/35125-h/images/fp_36_tmb.jpg
diff --git a/35125-h/images/fp_48.jpg b/35125-h/images/fp_48.jpg
new file mode 100644
index 0000000..3e27fb6
--- /dev/null
+++ b/35125-h/images/fp_48.jpg
diff --git a/35125-h/images/fp_6.jpg b/35125-h/images/fp_6.jpg
new file mode 100644
index 0000000..dfca115
--- /dev/null
+++ b/35125-h/images/fp_6.jpg
diff --git a/35125-h/images/fp_64.jpg b/35125-h/images/fp_64.jpg
new file mode 100644
index 0000000..cac42c5
--- /dev/null
+++ b/35125-h/images/fp_64.jpg
diff --git a/35125-h/images/fp_68.jpg b/35125-h/images/fp_68.jpg
new file mode 100644
index 0000000..6057fc5
--- /dev/null
+++ b/35125-h/images/fp_68.jpg
diff --git a/35125-h/images/fp_82.jpg b/35125-h/images/fp_82.jpg
new file mode 100644
index 0000000..c1e40bf
--- /dev/null
+++ b/35125-h/images/fp_82.jpg
diff --git a/35125-h/images/fp_84.jpg b/35125-h/images/fp_84.jpg
new file mode 100644
index 0000000..c0e5f69
--- /dev/null
+++ b/35125-h/images/fp_84.jpg
diff --git a/35125-h/images/frontis.jpg b/35125-h/images/frontis.jpg
new file mode 100644
index 0000000..7645ae5
--- /dev/null
+++ b/35125-h/images/frontis.jpg
diff --git a/35125-h/images/printer.jpg b/35125-h/images/printer.jpg
new file mode 100644
index 0000000..0a00fee
--- /dev/null
+++ b/35125-h/images/printer.jpg
diff --git a/35125.txt b/35125.txt
new file mode 100644
index 0000000..420fa66
--- /dev/null
+++ b/35125.txt
@@ -0,0 +1,12018 @@
+The Project Gutenberg EBook of Dumas' Paris, by Francis Miltoun
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Dumas' Paris
+
+Author: Francis Miltoun
+
+Release Date: January 31, 2011 [EBook #35125]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DUMAS' PARIS ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+
+
+
+Dumas' Paris
+
+
+
+
+_UNIFORM VOLUMES_
+
+
+  Dickens' London
+        BY FRANCIS MILTOUN
+  Library 12mo, cloth, gilt top            $2.00
+  The Same, 3/4 levant morocco              5.00
+
+  Milton's England
+        BY LUCIA AMES MEAD
+  Library 12mo, cloth, gilt top             2.00
+  The Same, 3/4 levant morocco              5.00
+
+  Dumas' Paris
+        BY FRANCIS MILTOUN
+  Library 12mo, cloth, gilt top      _net_  1.60
+                                _postpaid_  1.75
+  The Same, 3/4 levant morocco       _net_  4.00
+                                _postpaid_  4.15
+
+  L. C. PAGE & COMPANY
+  New England Building
+  Boston, Mass.
+
+
+
+
+[Illustration: _Alexandre Dumas_]
+
+
+
+
+  Dumas' Paris
+
+
+  By Francis Miltoun
+
+  Author of "Dickens' London," "Cathedrals of Southern
+  France," "Cathedrals of Northern France," etc.
+
+
+  With two Maps and many Illustrations
+
+
+  Boston
+  L. C. Page & Company
+  MDCCCCV
+
+
+
+
+  _Copyright, 1904_
+  BY L. C. PAGE & COMPANY
+  (INCORPORATED)
+
+  _All rights reserved_
+
+  Published November, 1904
+
+  _COLONIAL PRESS
+  Electrotyped and Printed by C. H. Simonds & Co.
+  Boston, Mass., U.S.A._
+
+
+
+
+Contents
+
+
+  CHAPTER                                             PAGE
+
+      I. A GENERAL INTRODUCTION                          1
+
+     II. DUMAS' EARLY LIFE IN PARIS                     14
+
+    III. DUMAS' LITERARY CAREER                         33
+
+     IV. DUMAS' CONTEMPORARIES                          68
+
+      V. THE PARIS OF DUMAS                             83
+
+     VI. OLD PARIS                                     126
+
+    VII. WAYS AND MEANS OF COMMUNICATION               147
+
+   VIII. THE BANKS OF THE SEINE                        165
+
+     IX. THE SECOND EMPIRE AND AFTER                   178
+
+      X. LA VILLE                                      195
+
+     XI. LA CITE                                       235
+
+    XII. L'UNIVERSITE QUARTIER                         244
+
+   XIII. THE LOUVRE                                    257
+
+    XIV. THE PALAIS ROYAL                              266
+
+     XV. THE BASTILLE                                  278
+
+    XVI. THE ROYAL PARKS AND PALACES                   297
+
+   XVII. THE FRENCH PROVINCES                          321
+
+  XVIII. LES PAYS ETRANGERS                            359
+
+  APPENDICES                                           373
+
+  INDEX                                                377
+
+
+
+
+List of Illustrations
+
+
+                                                      PAGE
+
+  ALEXANDRE DUMAS                           _Frontispiece_
+
+  DUMAS' HOUSE AT VILLERS-COTTERETS                      7
+
+  STATUE OF DUMAS AT VILLERS-COTTERETS                  14
+
+  FACSIMILE OF DUMAS' OWN STATEMENT OF HIS BIRTH        26
+
+  FACSIMILE OF A MANUSCRIPT PAGE FROM ONE OF
+  DUMAS' PLAYS                                          37
+
+  D'ARTAGNAN                                            48
+
+  ALEXANDRE DUMAS, _Fils_                               64
+
+  TWO FAMOUS CARICATURES OF ALEXANDRE DUMAS             68
+
+  TOMB OF ABELARD AND HELOISE                           82
+
+  GENERAL FOY'S RESIDENCE                               84
+
+  D'ARTAGNAN, FROM THE DUMAS STATUE BY GUSTAVE DORE    123
+
+  PONT NEUF--PONT AU CHANGE                            135
+
+  PORTRAIT OF HENRY IV.                                143
+
+  GRAND BUREAU DE LA POSTE                             154
+
+  THE ODEON IN 1818                                    167
+
+  PALAIS ROYAL, STREET FRONT                           183
+
+  77 RUE D'AMSTERDAM--RUE DE ST. DENIS                 188
+
+  PLACE DE LA GREVE                                    197
+
+  TOUR DE ST. JACQUES LA BOUCHERIE (MERYON'S
+  ETCHING, "LE STRYGE")                                198
+
+  HOTEL DES MOUSQUETAIRES, RUE D'ARBRE SEC             207
+
+  D'ARTAGNAN'S LODGINGS, RUE TIQUETONNE                214
+
+  109 RUE DU FAUBOURG ST. DENIS (DESCAMPS' STUDIO)     221
+
+  NOTRE DAME DE PARIS                                  235
+
+  PLAN OF LA CITE                                      236
+
+  CARMELITE FRIARY, RUE VAUGIRARD                      246
+
+  PLAN OF THE LOUVRE                                   257
+
+  THE GARDENS OF THE TUILERIES                         265
+
+  THE ORLEANS BUREAU, PALAIS ROYAL                     268
+
+  THE FALL OF THE BASTILLE                             284
+
+  INN OF THE PONT DE SEVRES                            302
+
+  BOIS DE BOULOGNE--BOIS DE VINCENNES--FORET DE
+  VILLERS-COTTERETS                                    315
+
+  CHATEAU OF THE DUCS DE VALOIS, CREPY                 318
+
+  CASTLE OF PIERREFONDS                                324
+
+  NOTRE DAME DE CHARTRES                               329
+
+  CASTLE OF ANGERS--CHATEAU OF BLOIS                   333
+
+
+
+
+Dumas' Paris
+
+
+
+
+CHAPTER I.
+
+A GENERAL INTRODUCTION
+
+
+There have been many erudite works, in French and other languages,
+describing the antiquities and historical annals of Paris from the
+earliest times; and in English the mid-Victorian era turned out--there are
+no other words for it--innumerable "books of travel" which recounted
+alleged adventures, strewn here and there with bits of historical lore and
+anecdotes, none too relevant, and in most cases not of undoubted
+authenticity.
+
+Of the actual life of the people in the city of light and learning, from
+the times of Napoleon onward, one has to go to the fountainhead of written
+records, the acknowledged masterworks in the language of the country
+itself, the reports and _annuaires_ of various _societes_, _commissions_,
+and what not, and collect therefrom such information as he finds may suit
+his purpose.
+
+In this manner may be built up a fabric which shall be authentic and
+proper, varied and, most likely, quite different in its plan, outline, and
+scope from other works of a similar purport, which may be recalled in
+connection therewith.
+
+Paris has been rich in topographical historians, and, indeed, in her
+chroniclers in all departments, and there is no end of relative matter
+which may be evolved from an intimacy with these sources of supply. In a
+way, however, this information ought to be supplemented by a personal
+knowledge on the part of the compiler, which should make localities,
+distances, and environments--to say nothing of the actual facts and dates
+of history--appear as something more than a shrine to be worshipped from
+afar.
+
+Given, then, these ingredients, with a love of the subject,--no less than
+of the city of its domicile,--it has formed a pleasant itinerary in the
+experiences of the writer of this book to have followed in the footsteps
+of Dumas _pere_, through the streets that he knew and loved, taking note
+meanwhile of such contemporary shadows as were thrown across his path,
+and such events of importance or significance as blended in with the
+scheme of the literary life of the times in which he lived, none the less
+than of those of the characters in his books.
+
+Nearly all the great artists have adored Paris--poets, painters, actors,
+and, above all, novelists.
+
+From which it follows that Paris is the ideal city for the novelist, who,
+whether he finds his special subjects in her streets or not, must be
+inspired by this unique fulness and variety of human life. Nearly all the
+great French novelists have adored Paris. Dumas loved it; Victor Hugo
+spent years of his time in riding about her streets on omnibuses; Daudet
+said splendid things of it, and nearly, if not quite, all the great names
+of the artistic world of France are indissolubly linked with it.
+
+Paris to-day means not "La Ville," "La Cite," or "L'Universite," but the
+whole triumvirate. Victor Hugo very happily compared the three cities to a
+little old woman between two handsome, strapping daughters.
+
+It was Beranger who announced his predilection for Paris as a birthplace.
+Dumas must have felt something of the same emotion, for he early
+gravitated to the "City of Liberty and Equality," in which--even before
+the great Revolution--misfortune was at all times alleviated by sympathy.
+
+       *       *       *       *       *
+
+From the stones of Paris have been built up many a lordly volume--and many
+a slight one, for that matter--which might naturally be presumed to have
+recounted the last word which may justifiably have been said concerning
+the various aspects of the life and historic events which have encircled
+around the city since the beginning of the _moyen age_.
+
+This is true or not, according as one embraces a wide or a contracted
+horizon in one's view.
+
+For most books there is, or was at the time of their writing, a reason for
+being, and so with familiar spots, as with well-worn roads, there is
+always a new panorama projecting itself before one.
+
+The phenomenal, perennial, and still growing interest in the romances of
+Dumas the elder is the excuse for the present work, which it is to be
+hoped is admittedly a good one, however far short of exhaustiveness--a
+much overworked word, by the way--the volume may fall.
+
+It were not possible to produce a complete or "exhaustive" work on any
+subject of a historical, topographical or aesthetic nature: so why claim
+it? The last word has not yet been said on Dumas himself, and surely not
+on Paris--no more has it on Pompeii, where they are still finding
+evidences of a long lost civilization as great as any previously
+unearthed.
+
+It was only yesterday, too (this is written in the month of March, 1904),
+that a party of frock-coated and silk-hatted benevolent-looking gentlemen
+were seen issuing from a manhole in the _Universite quartier_ of Paris.
+They had been inspecting a newly discovered _thermale etablissement_ of
+Roman times, which led off one of the newly opened subterranean arteries
+which abound beneath Paris.
+
+It is said to be a rival of the Roman bath which is enclosed within the
+walls of the present Musee Cluny, and perhaps the equal in size and
+splendour of any similar remains extant.
+
+This, then, suggests that in every land new ground, new view-points, and
+new conditions of life are making possible a record which, to have its
+utmost value, should be a progressively chronological one.
+
+And after this manner the present volume has been written. There is a fund
+of material to draw upon, historic fact, pertinent and contemporary
+side-lights, and, above all, the environment which haloed itself around
+the personality of Dumas, which lies buried in many a _cache_ which, if
+not actually inaccessible, is at least not to be found in the usual books
+of reference.
+
+Perhaps some day even more will have been collected, and a truly
+satisfying biographical work compiled. If so, it will be the work of some
+ardent Frenchman of a generation following that in which Alexandre Dumas
+lived, and not by one of the contemporaries of even his later years.
+Albert Vandam, perhaps, might have done it as it should have been done;
+but he did not do so, and so an intimate personal record has been lost.
+
+Paris has ever been written down in the book of man as the city of light,
+of gaiety, and of a trembling vivacity which has been in turn profligate,
+riotous, and finally criminal.
+
+All this is perhaps true enough, but no more in degree than in most
+capitals which have endured so long, and have risen to such greatness.
+
+With Paris it is quantity, with no sacrifice of quality, that has placed
+it in so preeminent a position among great cities, and the life of
+Paris--using the phrase in its most commonly recognized aspect--is
+accordingly more brilliant or the reverse, as one views it from the
+_boulevards_ or from the _villettes_.
+
+
+[Illustration: DUMAS' HOUSE AT VILLERS-COTTERETS]
+
+
+French writers, the novelists in particular, have well known and made
+use of this; painters and poets, too, have perpetuated it in a manner
+which has not been applied to any other city in the world.
+
+To realize the conditions of the life of Paris to the full one has to go
+back to Rousseau--perhaps even farther. His observation that "_Les maisons
+font la ville, mais le citoyens font la cite_," was true when written, and
+it is true to-day, with this modification, that the delimitation of the
+confines of _la ville_ should be extended so far as to include all
+workaday Paris--the shuffling, bustling world of energy and spirit which
+has ever insinuated itself into the daily life of the people.
+
+The love and knowledge of Alexandre Dumas _pere_ for Paris was great, and
+the accessory and detail of his novels, so far as he drew upon the
+capital, was more correct and apropos. It was something more than a mere
+dash of local colour scattered upon the canvas from a haphazard palette.
+In _minutiae_ it was not drawn as fine as the later Zola was wont to
+accomplish, but it showed no less detail did one but comprehend its full
+meaning.
+
+Though born in the provincial town Villers-Cotterets,--seventy-eight
+kilometres from Paris on the road to Soissons,--Dumas came early in touch
+with the metropolis, having in a sort of runaway journey broken loose
+from his old associations and finally becoming settled in the capital as a
+clerk in the Bureau d'Orleans, at the immature age of twenty. Thus it was
+that his impressions and knowledge of Paris were founded upon an
+experience which was prolonged and intimate, extending, with brief
+intervals of travel, for over fifty years.
+
+He had journeyed meantime to Switzerland, England, Corsica, Naples, the
+Rhine, Belgium,--with a brief residence in Italy in 1840-42,--then
+visiting Spain, Russia, the Caucasus, and Germany.
+
+This covered a period from 1822, when he first came to Paris, until his
+death at Puys, near Dieppe, in 1870; nearly a full half-century amid
+activities in matters literary, artistic, and social, which were scarce
+equalled in brilliancy elsewhere--before or since.
+
+In spite of his intimate association with the affairs of the capital,--he
+became, it is recalled, a candidate for the Chamber of Deputies at the
+time of the Second Republic,--Dumas himself has recorded, in a preface
+contributed to a "Histoire de l'Eure," by M. Charpillon (1879), that if he
+were ever to compile a history of France he should first search for _les
+pierres angulaires_ of his edifice in the provinces.
+
+This bespeaks a catholicity which, perhaps, after all, is, or should be,
+the birthright of every historical novelist.
+
+He said further, in this really valuable and interesting contribution,
+which seems to have been entirely overlooked by the bibliographers, that
+"to write the history of France would take a hundred volumes"--and no
+doubt he was right, though it has been attempted in less.
+
+And again that "the aggrandizement of Paris has only been accomplished by
+a weakening process having been undergone by the provinces." The egg from
+which Paris grew was deposited in the nest of _la cite_, the same as are
+the eggs laid _par un cygne_.
+
+He says further that in writing the history of Paris he would have founded
+on "Lutetia (or Louchetia) the _Villa de Jules_, and would erect in the
+Place de Notre Dame a temple or altar to Ceres; at which epoch would have
+been erected another to Mercury, on the Mount of Ste. Genevieve; to Apollo
+in the Rue de la Barillerie, where to-day is erected that part of
+Tuileries built by Louis XIV., and which is called _Le Pavillon de Flore_.
+
+"Then one would naturally follow with _Les Thermes de Julien_, which grew
+up from the _Villa de Jules_; the reunion under Charlemagne which
+accomplished the Sorbonne (_Sora bona_), which in turn became the
+favourite place of residence of Hugues Capet, the stronghold of
+Philippe-Auguste, the _bibliotheque_ of Charles V., the monumental capital
+of Henri VI. d'Angleterre; and so on through the founding of the first
+printing establishment in France by Louis XI.; the new school of painting
+by Francois I.; of the Academie by Richelieu; ... to the final curtailment
+of monarchial power with the horrors of the Revolution and the significant
+events which centred around the Bastille, Versailles, and the Tuileries."
+
+Leaving the events of the latter years of the eighteenth century, and
+coming to the day in which Dumas wrote (1867), Paris was truly--and in
+every sense--
+
+"The capital of France, and its history became not only the history of
+France but the history of the world.... The city will yet become the
+capital of humanity, and, since Napoleon repudiated his provincial
+residences and made Paris _sa residence imperiale_, the man of destiny who
+reigns in Paris in reality reigns throughout the universe."
+
+There may be those who will take exception to these brilliant words of
+Dumas. The Frenchman has always been an ardent and _soi-disant_ bundle of
+enthusiasm, but those who love him must pardon his pride, which is
+harmless to himself and others alike, and is a far more admirable quality
+than the indifference and apathy born of other lands.
+
+His closing words are not without a cynical truth, and withal a pride in
+Paris:
+
+"It is true that if we can say with pride, we Parisians, 'It was Paris
+which overthrew the Bastille,' you of the provinces can say with equal
+pride, 'It was we who made the Revolution.'"
+
+As if to ease the hurt, he wrote further these two lines only:
+
+"At this epoch the sister nations should erect a gigantic statue of Peace.
+This statue will be Paris, and its pedestal will represent _La Province_."
+
+His wish--it was not prophecy--did not, however, come true, as the world
+in general and France and poor rent Alsace et Lorraine in particular know
+to their sorrow; and all through a whim of a self-appointed, though
+weakling, monarch.
+
+The era of the true peace of the world and the monument to its glory came
+when the French nation presented to the New World that grand work of
+Bartholdi, "Liberty Enlightening the World," which stands in New York
+harbour, and whose smaller replica now terminates the Allee des Cygnes.
+
+The grasp that Dumas had of the events of romance and history served his
+purpose well, and in the life of the fifties in Paris his was a name and
+personality that was on everybody's lips.
+
+How he found time to live the full life that he did is a marvel; it
+certainly does not bear out the theory of heredity when one considers the
+race of his birth and the "dark-skinned" languor which was supposedly his
+heritage.
+
+One edition of his work comprises two hundred and seventy-seven volumes,
+and within the year a London publisher has announced some sixty volumes
+"never before translated." Dumas himself has said that he was the author
+of over seven hundred works.
+
+In point of time his romances go back to the days of the house of Valois
+and the Anglo-French wars (1328), and to recount their contents is to
+abstract many splendid chapters from out the pages of French history.
+
+It would seem as though nearly every personage of royalty and celebrity
+(if these democratic times will allow the yoking together of the two; real
+genuine _red_ republicans would probably link royalty and notoriety)
+stalked majestically through his pages, and the record runs from the
+fourteenth nearly to the end of the nineteenth century, with the exception
+of the reign of Louis XI.
+
+An ardent admirer of Sir Walter Scott has commented upon this lapse as
+being accounted for by the apparent futility of attempting to improve upon
+"Quentin Durward." This is interesting, significant, and characteristic,
+but it is not charitable, generous, or broad-minded.
+
+
+
+
+CHAPTER II.
+
+DUMAS' EARLY LIFE IN PARIS
+
+
+At fifteen (1817), Dumas entered the law-office of one Mennesson at
+Villers-Cotterets as a _saute-ruisseau_ (gutter-snipe), as he himself
+called it, and from this time on he was forced to forego what had been his
+passion heretofore: bird-catching, shooting, and all manner of woodcraft.
+
+When still living at Villers-Cotterets Dumas had made acquaintance with
+the art of the dramatist, so far as it was embodied in the person of
+Adolphe de Leuven, with whom he collaborated in certain immature
+melodramas and vaudevilles, which De Leuven himself took to Paris for
+disposal.
+
+"No doubt managers would welcome them with enthusiasm," said Dumas, "and
+likely enough we shall divert a branch of that Pactolus River which is
+irrigating the domains of M. Scribe" (1822).
+
+Later on in his "Memoires" he says: "Complete humiliation; we were refused
+everywhere."
+
+
+[Illustration: STATUE OF DUMAS AT VILLERS-COTTERETS]
+
+
+From Villers-Cotterets the scene of Dumas' labours was transferred to
+Crepy, three and a half leagues distant, a small town to which he made his
+way on foot, his belongings in a little bundle "_not more bulky than that
+of a Savoyard when he leaves his native mountains_."
+
+In his new duties, still as a lawyer's clerk, Dumas found life very
+wearisome, and, though the ancient capital of the Valois must have made an
+impress upon him,--as one learns from the Valois romances,--he pined for
+the somewhat more free life which he had previously lived; or, taking the
+bull by the horns, deliberated as to how he might get into the very vortex
+of things by pushing on to the capital.
+
+As he tritely says, "To arrive it was necessary to make a start," and the
+problem was how to arrive in Paris from Crepy in the existing condition of
+his finances.
+
+By dint of ingenuity and considerable activity Dumas left Crepy in company
+with a friend on a sort of a runaway holiday, and made his third entrance
+into Paris.
+
+It would appear that Dumas' culinary and gastronomic capabilities early
+came into play, as we learn from the "Memoires" that, when he was not yet
+out of his teens, and serving in the notary's office at Crepy, he
+proposed to his colleague that they take this three days' holiday in
+Paris.
+
+They could muster but thirty-five francs between them, so Dumas proposed
+that they should shoot game _en route_. Said Dumas, "We can kill, shall I
+say, one hare, two partridges, and a quail.... We reach Dammartin, get the
+hinder part of our hare roasted and the front part jugged, then we eat and
+drink." "And what then?" said his friend. "What then? Bless you, why we
+pay for our wine, bread, and seasoning with the two partridges, and we tip
+the waiter with the quail."
+
+The journey was accomplished in due order, and he and his friend put up at
+the Hotel du Vieux-Augustins, reaching there at ten at night.
+
+In the morning he set out to find his collaborateur De Leuven, but the
+fascination of Paris was such that it nearly made him forswear regard for
+the flight of time.
+
+He says of the Palais Royale: "I found myself within its courtyard, and
+stopped before the Theatre Francais, and on the bill I saw:
+
+      "'Demain, Lundi
+          Sylla
+  Tragedie dans cinq Actes
+      Par M. de Jouy'
+
+"I solemnly swore that by some means or other ... I would see Sylla, and
+all the more so because, in large letters, under the above notice, were
+the words, 'The character of Sylla will be taken by M. Talma.'"
+
+In his "Memoires" Dumas states that it was at this time he had the
+temerity to call on the great Talma. "Talma was short-sighted," said he,
+"and was at his toilet; his hair was close cut, and his aspect under these
+conditions was remarkably un-poetic.... Talma was for me a god--a god
+unknown, it is true, as was Jupiter to Semele."
+
+And here comes a most delicious bit of Dumas himself, Dumas the egotist:
+
+"Ah, Talma! were you but twenty years younger or I twenty years older! I
+know the past, you cannot foretell the future.... Had you known, Talma,
+that the hand you had just touched would ultimately write sixty or eighty
+dramas ... in each of which you would have found the material for a
+marvellous creation...."
+
+Dumas may be said to have at once entered the world of art and letters in
+this, his third visit to Paris, which took place so early in life, but in
+the years so ripe with ambition.
+
+Having seen the great Talma in Sylla, in his dressing-room at the Theatre
+Francais, he met Delavigne, who was then just completing his "Ecole des
+Viellards," Lucien Arnault, who had just brought out "Regulus;" Soumet,
+fresh from the double triumph of "Saul" and "Clymnestre;" here, too, were
+Lemercier, Delrien, Viennet, and Jouy himself; and he had met at the Cafe
+du Roi, Theadlon, Francis, Rochefort, and De Merle; indeed by his friend
+De Leuven he was introduced to the assemblage there as a "future
+Corneille," in spite of the fact that he was but a notary's clerk.
+
+Leaving what must have been to Dumas _the presence_, he shot a parting
+remark, "Ah, yes, I shall come to Paris for good, I warrant you that."
+
+In "The Taking of the Bastille" Dumas traces again, in the characters of
+Pitou and old Father Billot, much of the route which he himself took on
+his first visit to Paris. The journey, then, is recounted from first-hand
+information, and there will be no difficulty on the part of any one in
+tracing the similarity of the itinerary.
+
+Chapter I., of the work in question, brings us at once on familiar ground,
+and gives a description of Villers-Cotterets and its inhabitants in a
+manner which shows Dumas' hand so unmistakably as to remove any doubts as
+to the volume of assistance he may have received from others, on this
+particular book at least.
+
+"On the borders of Picardy and the province of Soissons, and on that part
+of the national territory which, under the name of the Isle of France,
+formed a portion of the ancient patrimony of our kings, and in the centre
+of an immense crescent, formed by a forest of fifty thousand acres, which
+stretches its horns to the north and south, rises, almost buried amid the
+shades of a vast park planted by Francois I. and Henri II., the small city
+of Villers-Cotterets. This place is celebrated from having given birth to
+Charles Albert Demoustier, who, at the period when our present history
+commences, was there writing his Letters to Emilie on Mythology, to the
+unbounded satisfaction of the pretty women of those days, who eagerly
+snatched his publications from each other as soon as printed.
+
+"Let us add, to complete the poetical reputation of this little city,
+whose detractors, notwithstanding its royal chateau and its two thousand
+four hundred inhabitants, obstinately persist in calling it a mere
+village--let us add, we say, to complete its poetical reputation, that it
+is situated at two leagues distance from Laferte-Milan, where Racine was
+born, and eight leagues from Chateau-Thierry, the birthplace of La
+Fontaine.
+
+"Let us also state that the mother of the author of 'Britannicus' and
+'Athalie' was from Villers-Cotterets.
+
+"But now we must return to its royal chateau and its two thousand four
+hundred inhabitants.
+
+"This royal chateau, begun by Francois I., whose salamanders still
+decorate it, and finished by Henri II., whose cipher it bears entwined
+with that of Catherine de Medici and encircled by the three crescents of
+Diana of Poictiers, after having sheltered the loves of the knight king
+with Madame d'Etampes, and those of Louis Philippe of Orleans with the
+beautiful Madame de Montesson, had become almost uninhabited since the
+death of this last prince; his son, Philippe d'Orleans, afterward called
+Egalite, having made it descend from the rank of a royal residence to that
+of a mere hunting rendezvous.
+
+"It is well known that the chateau and forest of Villers-Cotterets formed
+part of the appanage settled by Louis XIV. on his brother Monsieur, when
+the second son of Anne of Austria married the sister of Charles II., the
+Princess Henrietta of England.
+
+"As to the two thousand four hundred inhabitants of whom we have promised
+our readers to say a word, they were, as in all localities where two
+thousand four hundred people are united, a heterogeneous assemblage.
+
+"Firstly: Of the few nobles, who spent their summers in the neighbouring
+chateaux and their winters in Paris, and who, mimicking the prince, had
+only a lodging-place in the city.
+
+"Secondly: Of a goodly number of citizens, who could be seen, let the
+weather be what it might, leaving their houses after dinner, umbrella in
+hand, to take their daily walk, a walk which was regularly bounded by a
+deep, invisible ditch which separated the park from the forest, situated
+about a quarter of a league from the town, and which was called, doubtless
+on account of the exclamation which the sight of it drew from the
+asthmatic lungs of the promenaders, satisfied at finding themselves not
+too much out of breath, the 'Ha, ha!'
+
+"Thirdly: Of a considerably greater number of artisans who worked the
+whole of the week and only allowed themselves to take a walk on the
+Sunday; whereas their fellow townsmen, more favoured by fortune, could
+enjoy it every day.
+
+"Fourthly and finally: Of some miserable proletarians, for whom the week
+had not even a Sabbath, and who, after having toiled six days in the pay
+of the nobles, the citizens, or even of the artisans, wandered on the
+seventh day through the forest to gather up dry wood or branches of the
+lofty trees, torn from them by the storm, that mower of the forest, to
+whom oak-trees are but ears of wheat, and which it scattered over the
+humid soil beneath the lofty trees, the magnificent appanage of a prince.
+
+"If Villers-Cotterets (Villerii ad Cotiam Retiae) had been, unfortunately,
+a town of sufficient importance in history to induce archaeologists to
+ascertain and follow up its successive changes from a village to a town
+and from a town to a city--the last, as we have said, being strongly
+contested, they would certainly have proved this fact, that the village
+had begun by being a row of houses on either side of the road from Paris
+to Soissons; then they would have added that its situation on the borders
+of a beautiful forest having, though by slow degrees, brought to it a
+great increase of inhabitants, other streets were added to the first,
+diverging like the rays of a star and leading toward other small villages
+with which it was important to keep up communication, and converging
+toward a point which naturally became the centre, that is to say, what in
+the provinces is called _Le Carrefour_,--and sometimes even the Square,
+whatever might be its shape,--and around which the handsomest buildings of
+the village, now become a burgh, were erected, and in the middle of which
+rises a fountain, now decorated with a quadruple dial; in short, they
+would have fixed the precise date when, near the modest village church,
+the first want of a people, arose the first turrets of the vast chateau,
+the last caprice of a king; a chateau which, after having been, as we have
+already said, by turns a royal and a princely residence, has in our days
+become a melancholy and hideous receptacle for mendicants under the
+direction of the Prefecture of the Seine, and to whom M. Marrast issues
+his mandates through delegates of whom he has not, nor probably will ever
+have, either the time or the care to ascertain the names."
+
+The last sentence seems rather superfluous,--if it was justifiable,--but,
+after all, no harm probably was done, and Dumas as a rule was never
+vituperative.
+
+Continuing, these first pages give us an account of the difficulties under
+which poor Louis Ange Pitou acquired his knowledge of Latin, which is
+remarkably like the account which Dumas gives in the "Memoires" of his
+early acquaintance with the classics.
+
+When Pitou leaves Haramont, his native village, and takes to the road, and
+visits Billot at "Bruyere aux Loups," knowing well the road, as he did
+that to Damploux, Compiegne, and Vivieres, he was but covering ground
+equally well known to Dumas' own youth.
+
+Finally, as he is joined by Billot _en route_ for Paris, and takes the
+highroad from Villers-Cotterets, near Gondeville, passing Nanteuil,
+Dammartin, and Ermenonville, arriving at Paris at La Villette, he follows
+almost the exact itinerary taken by the venturesome Dumas on his runaway
+journey from the notary's office at Crepy-en-Valois.
+
+Crepy-en-Valois was the near neighbour of Villers-Cotterets, which
+jealously attempted to rival it, and does even to-day. In "The Taking of
+the Bastille" Dumas only mentions it in connection with Mother Sabot's
+_ane_, "which was shod,"--the only ass which Pitou had ever known which
+wore shoes,--and performed the duty of carrying the mails between Crepy
+and Villers-Cotterets.
+
+At Villers-Cotterets one may come into close contact with the chateau
+which is referred to in the later pages of the "Vicomte de Bragelonne."
+"Situated in the middle of the forest, where we shall lead a most
+sentimental life, the very same where my grandfather," said Monseigneur
+the Prince, "Henri IV. did with 'La Belle Gabrielle.'"
+
+So far as lion-hunting goes, Dumas himself at an early age appears to have
+fallen into it. He recalls in "Mes Memoires" the incident of Napoleon I.
+passing through Villers-Cotterets just previous to the battle of Waterloo.
+
+"Nearly every one made a rush for the emperor's carriage," said he;
+"naturally I was one of the first.... Napoleon's pale, sickly face seemed
+a block of ivory.... He raised his head and asked, 'Where are we?' 'At
+Villers-Cotterets, Sire,' said a voice. 'Go on.'" Again, a few days later,
+as we learn from the "Memoires," "a horseman coated with mud rushes into
+the village; orders four horses for a carriage which is to follow, and
+departs.... A dull rumble draws near ... a carriage stops.... 'Is it
+he--the emperor?' Yes, it was the emperor, in the same position as I had
+seen him before, exactly the same, pale, sickly, impassive; only the head
+droops rather more.... 'Where are we?' he asked. 'At Villers-Cotterets,
+Sire.' 'Go on.'"
+
+That evening Napoleon slept at the Elysee. It was but three months since
+he had returned from Elba, but in that time he came to an abyss which had
+engulfed his fortune. That abyss was Waterloo; only saved to the
+allies--who at four in the afternoon were practically defeated--by the
+coming up of the Germans at six.
+
+Among the books of reference and contemporary works of a varying nature
+from which a writer in this generation must build up his facts anew, is
+found a wide difference in years as to the date of the birth of Dumas
+_pere_.
+
+As might be expected, the weight of favour lies with the French
+authorities, though by no means do they, even, agree among themselves.
+
+His friends have said that no unbiassed, or even complete biography of the
+author exists, even in French; and possibly this is so. There is about
+most of them a certain indefiniteness and what Dumas himself called the
+"colour of sour grapes."
+
+The exact date of his birth, however, is unquestionably 1802, if a
+photographic reproduction of his natal certificate, published in Charles
+Glinel's "Alex. Dumas et Son Oeuvre," is what it seems to be.
+
+Dumas' aristocratic parentage--for such it truly was--has been the
+occasion of much scoffing and hard words. He pretended not to it himself,
+but it was founded on family history, as the records plainly tell, and
+whether Alexandre, the son of the brave General Dumas, the Marquis de la
+Pailleterie, was prone to acknowledge it or not does not matter in the
+least. The "feudal particle" existed plainly in his pedigree, and with no
+discredit to any concerned.
+
+
+[Illustration: FACSIMILE OF DUMAS' OWN STATEMENT OF HIS BIRTH]
+
+
+General Dumas, his wife, and his son are buried in the cemetery of
+Villers-Cotterets, where the exciting days of the childhood of Dumas, the
+romancer, were spent, in a plot of ground "conceded in perpetuity to the
+family." The plot forms a rectangle six metres by five, surrounded by
+towering pines.
+
+The three monuments contained therein are of the utmost simplicity, each
+consisting of an inclined slab of stone.
+
+The inscriptions are as follows:
+
+  FAMILLE
+
+  Thomas-Alexandre
+  Dumas
+  Davy de la Pailleterie
+  general de division
+  ne a Jeremie
+  Ile et Cote de Saint
+  Dominique
+  le 25 mars 1762,
+  decede
+  a Villers-Cotterets
+  le 27 fevrier 1806
+
+
+  ALEXANDRE
+
+  Marie-Louise-Elizabeth
+  Labouret
+  Epouse
+  du general de division
+  Dumas Davy
+  de la Pailleterie
+  nee
+  a Villers-Cotterets
+  le 4 juillet 1769
+  decedee
+  le 1er aout 1838
+
+
+  DUMAS
+
+  Alexandre Dumas
+  ne a Villers-Cotterets
+  le 24 juillet 1802
+  decede
+  le 5 decembre 1870
+  a Puys
+  transfere
+  a
+  Villers-Cotterets
+  le
+  15 avril 1872
+
+There would seem to be no good reason why a book treating of Dumas' Paris
+might not be composed entirely of quotations from Dumas' own works. For a
+fact, such a work would be no less valuable as a record than were it
+evolved by any other process. It would indeed be the best record that
+could possibly be made, for Dumas' topography was generally truthful if
+not always precise.
+
+There are, however, various contemporary side-lights which are thrown upon
+any canvas, no matter how small its area, and in this instance they seem
+to engulf even the personality of Dumas himself, to say nothing of his
+observations.
+
+Dumas was such a part and parcel of the literary life of the times in
+which he lived that mention can scarce be made of any contemporary event
+that has not some bearing on his life or work, or he with it, from the
+time when he first came to the metropolis (in 1822) at the impressionable
+age of twenty, until the end.
+
+It will be difficult, even, to condense the relative incidents which
+entered into his life within the confines of a single volume, to say
+nothing of a single chapter. The most that can be done is to present an
+abridgment which shall follow along the lines of some preconceived
+chronological arrangement. This is best compiled from Dumas' own words,
+leaving it to the additional references of other chapters to throw a sort
+of reflected glory from a more distant view-point.
+
+The reputation of Dumas with the merely casual reader rests upon his
+best-known romances, "Monte Cristo," 1841; "Les Trois Mousquetaires,"
+1844; "Vingt Ans Apres," 1845; "Le Vicomte de Bragelonne," 1847; "La Dame
+de Monsoreau," 1847; and his dramas of "Henri III. et Sa Cour," 1829,
+"Antony," 1831, and "Kean," 1836.
+
+His memoirs, "Mes Memoires," are practically closed books to the mass of
+English readers--the word books is used advisedly, for this remarkable
+work is composed of twenty stout volumes, and they only cover ten years of
+the author's life.
+
+Therein is a mass of fact and fancy which may well be considered as
+fascinating as are the "romances" themselves, and, though autobiographic,
+one gets a far more satisfying judgment of the man than from the various
+warped and distorted accounts which have since been published, either in
+French or English.
+
+Beginning with "Memories of My Childhood" (1802-06), Dumas launches into
+a few lines anent his first visit to Paris, in company with his father,
+though the auspicious--perhaps significant--event took place at a very
+tender age. It seems remarkable that he should have recalled it at all,
+but he was a remarkable man, and it seems not possible to ignore his
+words.
+
+"We set out for Paris, ah, that journey! I recollect it perfectly.... It
+was August or September, 1805. We got down in the Rue Thiroux at the
+house of one Dolle.... I had been embraced by one of the most noble ladies
+who ever lived, Madame la Marquise de Montesson, widow of Louis-Philippe
+d'Orleans.... The next day, putting Brune's sword between my legs and
+Murat's hat upon my head, I galloped around the table; when my father
+said, '_Never forget this, my boy_.'... My father consulted Corvisart, and
+attempted to see the emperor, but Napoleon, the quondam general, had now
+become the emperor, and he refused to see my father.... To where did we
+return? I believe Villers-Cotterets."
+
+Again on the 26th of March, 1813, Dumas entered Paris in company with his
+mother, now widowed. He says of this visit:
+
+"I was delighted at the prospect of this my second visit.... I have but
+one recollection, full of light and poetry, when, with a flourish of
+trumpets, a waving of banners, and shouts of 'Long live the King of Rome,'
+was lifted up above the heads of fifty thousand of the National Guard the
+rosy face and the fair, curly head of a child of three years--the infant
+son of the great Napoleon.... Behind him was his mother,--that woman so
+fatal to France, as have been all the daughters of the Caesars, Anne of
+Austria, Marie Antoinette, and Marie Louise,--an indistinct, insipid
+face.... The next day we started home again."
+
+       *       *       *       *       *
+
+Through the influence of General Foy, an old friend of his father's, Dumas
+succeeded in obtaining employment in the Orleans Bureau at the Palais
+Royal.
+
+His occupation there appears not to have been unduly arduous. The offices
+were in the right-hand corner of the second courtyard of the Palais Royal.
+He remained here in this bureau for a matter of five years, and, as he
+said, "loved the hour when he came to the office," because his immediate
+superior, Lassagne,--a contributor to the _Drapeau Blanc_,--was the friend
+and intimate of Desaugiers, Theaulon, Armand Gouffe, Brozier, Rougemont,
+and all the vaudevillists of the time.
+
+Dumas' meeting with the Duc d'Orleans--afterward Louis-Philippe--is
+described in his own words thus: "In two words I was introduced. 'My lord,
+this is M. Dumas, whom I mentioned to you, General Foy's protege.' 'You
+are the son of a brave man,' said the duc, 'whom Bonaparte, it seems, left
+to die of starvation.'... The duc gave Oudard a nod, which I took to mean,
+'He will do, he's by no means bad for a provincial.'" And so it was that
+Dumas came immediately under the eye of the duc, engaged as he was at
+that time on some special clerical work in connection with the duc's
+provincial estates.
+
+The affability of Dumas, so far as he himself was concerned, was a
+foregone conclusion. In the great world in which he moved he knew all
+sorts and conditions of men. He had his enemies, it is true, and many of
+them, but he himself was the enemy of no man. To English-speaking folk he
+was exceedingly agreeable, because,--quoting his own words,--said he, "It
+was a part of the debt which I owed to Shakespeare and Scott." Something
+of the egoist here, no doubt, but gracefully done nevertheless.
+
+With his temperament it was perhaps but natural that Dumas should have
+become a romancer. This was of itself, maybe, a foreordained sequence of
+events, but no man thinks to-day that, leaving contributary conditions,
+events, and opportunities out of the question, he shapes his own fate;
+there are accumulated heritages of even distant ages to contend with. In
+Dumas' case there was his heritage of race and colour, refined, perhaps,
+by a long drawn out process, but, as he himself tells in "Mes Memoires,"
+his mother's fear was that her child would be born black, and he _was_,
+or, at least, purple, as he himself afterward put it.
+
+
+
+
+CHAPTER III.
+
+DUMAS' LITERARY CAREER
+
+
+Just how far Dumas' literary ability was an inheritance, or growth of his
+early environment, will ever be an open question. It is a manifest fact
+that he had breathed something of the spirit of romance before he came to
+Paris.
+
+Although it was not acknowledged until 1856, "The Wolf-Leader" was a
+development of a legend told to him in his childhood. Recalling then the
+incident of his boyhood days, and calling into recognition his gift of
+improvisation, he wove a tale which reflected not a little of the open-air
+life of the great forest of Villers-Cotterets, near the place of his
+birth.
+
+Here, then, though it was fifty years after his birth, and thirty after he
+had thrust himself on the great world of Paris, the scenes of his
+childhood were reproduced in a wonderfully romantic and weird
+tale--which, to the best of the writer's belief, has not yet appeared in
+English.
+
+To some extent it is possible that there is not a little of autobiography
+therein, not so much, perhaps, as Dickens put into "David Copperfield,"
+but the suggestion is thrown out for what it may be worth.
+
+It is, furthermore, possible that the historic associations of the town of
+Villers-Cotterets--which was but a little village set in the midst of the
+surrounding forest--may have been the prime cause which influenced and
+inspired the mind of Dumas toward the romance of history.
+
+In point of chronology, among the earliest of the romances were those that
+dealt with the fortunes of the house of Valois (fourteenth century), and
+here, in the little forest town of Villers-Cotterets, was the magnificent
+manor-house which belonged to the Ducs de Valois; so it may be presumed
+that the sentiment of early associations had somewhat to do with these
+literary efforts.
+
+All his life Dumas devotedly admired the sentiment and fancies which
+foregathered in this forest, whose very trees and stones he knew so well.
+From his "Memoires" we learn of his indignation at the destruction of its
+trees and much of its natural beauty. He says:
+
+"This park, planted by Francois I., was cut down by Louis-Philippe. Trees,
+under whose shade once reclined Francois I. and Madame d'Etampes, Henri
+II. and Diane de Poitiers, Henri IV. and Gabrielle d'Estrees--you would
+have believed that a Bourbon would have respected you. But over and above
+your inestimable value of poetry and memories, you had, unhappily, a
+material value. You beautiful beeches with your polished silvery cases!
+you beautiful oaks with your sombre wrinkled bark!--you were worth a
+hundred thousand crowns. The King of France, who, with his six millions of
+private revenue, was too poor to keep you--the King of France sold you.
+For my part, had you been my sole possession, I would have preserved you;
+for, poet as I am, one thing that I would set before all the gold of the
+earth: the murmur of the wind in your leaves; the shadow that you made to
+flicker beneath my feet; the visions, the phantoms, which, at eventide,
+betwixt the day and night, in the doubtful hour of twilight, would glide
+between your age-long trunks as glide the shadows of the ancient
+Abencerrages amid the thousand columns of Cordova's royal mosque."
+
+What wonder, with these lines before one, that the impressionable Dumas
+was so taken with the romance of life and so impracticable in other ways.
+
+       *       *       *       *       *
+
+From the fact that no thorough biography of Dumas exists, it will be
+difficult to trace the fluctuations of his literary career with
+preciseness. It is not possible even with the twenty closely packed
+volumes of the "Memoires"--themselves incomplete--before one. All that a
+biographer can get from this treasure-house are facts,--rather radiantly
+coloured in some respects, but facts nevertheless,--which are put together
+in a not very coherent or compact form.
+
+They do, to be sure, recount many of the incidents and circumstances
+attendant upon the writing and publication of many of his works, and
+because of this they immediately become the best of all sources of supply.
+It is to be regretted that these "Memoires" have not been translated,
+though it is doubtful if any publisher of English works could get his
+money back from the transaction.
+
+Other clues as to his emotions, and with no uncertain references to
+incidents of Dumas' literary career, are found in "Mes Betes," "Ange
+Pitou," the "Causeries," and the "Travels." These comprise many volumes
+not yet translated.
+
+
+[Illustration: FACSIMILE OF A MANUSCRIPT PAGE FROM ONE OF DUMAS' PLAYS]
+
+
+Dumas was readily enough received into the folds of the great. Indeed,
+as we know, he made his _entree_ under more than ordinary, if not
+exceptional, circumstances, and his connection with the great names of
+literature and statecraft extended from Hugo to Garibaldi.
+
+As for his own predilections in literature, Dumas' own voice is
+practically silent, though we know that he was a romanticist pure and
+simple, and drew no inspiration or encouragement from Voltairian
+sentiments. If not essentially religious, he at least believed in its
+principles, though, as a warm admirer has said, "He had no liking for the
+celibate and bookish life of the churchman."
+
+Dumas does not enter deeply into the subject of ecclesiasticism in France.
+His most elaborate references are to the Abbey of Ste. Genevieve--since
+disappeared in favour of the hideous pagan Pantheon--and its relics and
+associations, in "La Dame de Monsoreau." Other of the romances from time
+to time deal with the subject of religion more or less, as was bound to
+be, considering the times of which he wrote, of Mazarin, Richelieu, De
+Rohan, and many other churchmen.
+
+Throughout the thirties Dumas was mostly occupied with his plays, the
+predominant, if not the most sonorous note, being sounded by "Antony."
+
+As a novelist his star shone brightest in the decade following,
+commencing with "Monte Cristo," in 1841, and continuing through "Le
+Vicomte de Bragelonne" and "La Dame de Monsoreau," in 1847.
+
+During these strenuous years Dumas produced the flower of his romantic
+garland--omitting, of course, certain trivial and perhaps unworthy
+trifles, among which are usually considered, rightly enough, "Le Capitaine
+Paul" (Paul Jones) and "Jeanne d'Arc." At this period, however, he
+produced the charming and exotic "Black Tulip," which has since come to be
+a reality. The best of all, though, are admittedly the Mousquetaire cycle,
+the volumes dealing with the fortunes of the Valois line, and, again,
+"Monte Cristo."
+
+By 1830, Dumas, eager, as it were, to experience something of the valiant
+boisterous spirit of the characters of his romances, had thrown himself
+heartily into an alliance with the opponents of Louis-Philippe. Orleanist
+successes, however, left him to fall back upon his pen.
+
+In 1844, having finished "Monte Cristo," he followed it by "Les Trois
+Mousquetaires," and before the end of the same year had put out forty
+volumes, by what means, those who will read the scurrilous "Fabrique des
+Romans"--and properly discount it--may learn.
+
+The publication of "Monte Cristo" and "Les Trois Mousquetaires" as
+newspaper _feuilletons_, in 1844-45, met with amazing success, and were,
+indeed, written from day to day, to keep pace with the demands of the
+press.
+
+Here is, perhaps, an opportune moment to digress into the ethics of the
+profession of the "literary ghost," and but for the fact that the subject
+has been pretty well thrashed out before,--not only with respect to Dumas,
+but to others as well,--it might justifiably be included here at some
+length, but shall not be, however.
+
+The busy years from 1840-50 could indeed be "explained"--if one were sure
+of his facts; but beyond the circumstances, frequently availed of, it is
+admitted, of Dumas having made use of secretarial assistance in the
+productions which were ultimately to be fathered by himself, there is
+little but jealous and spiteful hearsay to lead one to suppose that he
+made any secret of the fact that he had some very considerable assistance
+in the production of the seven hundred volumes which, at a late period in
+his life, he claimed to have produced.
+
+The "_Maquet affaire_," of course, proclaims the whilom Augustus Mackeat
+as a _collaborateur_; still the ingenuity of Dumas shines forth through
+the warp and woof in an unmistakable manner, and he who would know more
+of the pros and cons is referred to the "_Maison Dumas et Cie_."
+
+Maquet was manifestly what we have come to know as a "hack," though the
+species is not so very new--nor so very rare. The great libraries are full
+of them the whole world over, and very useful, though irresponsible and
+ungrateful persons, many of them have proved to be. Maquet, at any rate,
+served some sort of a useful purpose, and he certainly was a confidant of
+the great romancer during these very years, but that his was the mind and
+hand that evolved or worked out the general plan and detail of the
+romances is well-nigh impossible to believe, when one has digested both
+sides of the question.
+
+An English critic of no inconsiderable knowledge has thrown in his lot
+recently with the claims of Maquet, and given the sole and entire
+production of "Les Trois Mousquetaires," "Monte Cristo," "La Dame de
+Monsoreau," and many other of Dumas' works of this period, to him, placing
+him, indeed, with Shakespeare, whose plays certain gullible persons
+believe to have been written by Bacon. The flaw in the theory is apparent
+when one realizes that the said Maquet was no myth--he was, in fact, a
+very real person, and a literary personage of a certain ability. It is
+strange, then, that if he were the producer of, say "Les Trois
+Mousquetaires," which was issued ostensibly as the work of Dumas, that he
+wrote nothing under his own name that was at all comparable therewith; and
+stranger still, that he was able to repeat this alleged success with
+"Monte Cristo," or the rest of the Mousquetaire series, and yet not be
+able to do the same sort of a feat when playing the game by himself. One
+instance would not prove this contention, but several are likely to not
+only give it additional strength, but to practically demonstrate the
+correct conclusion.
+
+The ethics of plagiarism are still greater and more involved than those
+which make justification for the employment of one who makes a profession
+of _library research_, but it is too involved and too vast to enter into
+here, with respect to accusations of its nature which were also made
+against Dumas.
+
+As that new star which has so recently risen out of the East--Mr.
+Kipling--has said, "They took things where they found them." This is
+perhaps truthful with regard to most literary folk, who are continually
+seeking a new line of thought. Scott did it, rather generously one might
+think; even Stevenson admitted that he was greatly indebted to Washington
+Irving and Poe for certain of the details of "Treasure Island"--though
+there is absolutely no question but that it was a sort of unconscious
+absorption, to put it rather unscientifically. The scientist himself calls
+it the workings of the subconscious self.
+
+As before said, the Maquet _affaire_ was a most complicated one, and it
+shall have no lengthy consideration here. Suffice to say that, when a case
+was made by Maquet in court, in 1856-58, Maquet lost. "It is not justice
+that has won," said Maquet, "but Dumas."
+
+Edmond About has said that Maquet lived to speak kindly of Dumas, "as did
+his legion of other _collaborateurs_; and the proudest of them
+congratulate themselves on having been trained in so good a school." This
+being so, it is hard to see anything very outrageous or preposterous in
+the procedure.
+
+Blaze de Bury has described Dumas' method thus:
+
+"The plot was worked over by Dumas and his colleague, when it was finally
+drafted by the other and afterward _rewritten_ by Dumas."
+
+M. About, too, corroborates Blaze de Bury's statement, so it thus appears
+legitimately explained. Dumas at least supplied the ideas and the
+_esprit_.
+
+In Dumas' later years there is perhaps more justification for the thought
+that as his indolence increased--though he was never actually inert, at
+least not until sickness drew him down--the authorship of the novels
+became more complex. Blaze de Bury put them down to the "Dumas-Legion,"
+and perhaps with some truth. They certainly have not the vim and fire and
+temperament of individuality of those put forth from 1840 to 1850.
+
+Dumas wrote fire and impetuosity into the veins of his heroes, perhaps
+some of his very own vivacious spirit. It has been said that his moral
+code was that of the camp or the theatre; but that is an ambiguity, and it
+were better not dissected.
+
+Certainly he was no prude or Puritan, not more so, at any rate, than were
+Burns, Byron, or Poe, but the virtues of courage, devotion, faithfulness,
+loyalty, and friendship were his, to a degree hardly excelled by any of
+whom the written record of _cameraderie_ exists.
+
+Dumas has been jibed and jeered at by the supercilious critics ever since
+his first successes appeared, but it has not leavened his reputation as
+the first romancer of his time one single jot; and within the past few
+years we have had a revival of the character of true romance--perhaps the
+first _true_ revival since Dumas' time--in M. Rostand's "Cyrano de
+Bergerac."
+
+We have had, too, the works of Zola, who, indomitable, industrious, and
+sincere as he undoubtedly was, will have been long forgotten when the
+masterpieces of Dumas are being read and reread. The Mousquetaire cycle,
+the Valois romances, and "Monte Cristo" stand out by themselves above all
+others of his works, and have had the approbation of such discerning
+fellow craftsmen as George Sand, Thackeray, and Stevenson, all of whom may
+be presumed to have judged from entirely different points of view.
+Thackeray, indeed, plainly indicated his greatest admiration for "La
+Tulipe Noire," a work which in point of time came somewhat later. At this
+time Dumas had built his own Chalet de Monte Cristo near St. Germain, a
+sort of a Gallic rival to Abbotsford. It, and the "Theatre Historique,"
+founded by Dumas, came to their disastrous end in the years immediately
+following upon the Revolution of 1848, when Dumas fled to Brussels and
+began his "Memoires." He also founded a newspaper called _Le
+Mousquetaire_, which failed, else he might have retrenched and satisfied
+his creditors--at least in part.
+
+He travelled in Russia, and upon his return wrote of his journey to the
+Caspian. In 1860 he obtained an archaeological berth in Italy, and edited a
+Garibaldian newspaper.
+
+By 1864, the "Director of Excavations at Naples," which was Dumas'
+official title, fell out with the new government which had come in, and he
+left his partisan journal and the lava-beds of Pompeii for Paris and the
+literary arena again; but the virile power of his early years was gone,
+and Dumas never again wielded the same pen which had limned the features
+of Athos, Porthos, Aramis, and D'Artagnan.
+
+In 1844 Dumas participated in a sort of personally-conducted Bonapartist
+tour to the Mediterranean, in company with the son of Jerome Napoleon. On
+this journey Dumas first saw the island of Monte Cristo and the Chateau
+d'If, which lived so fervently in his memory that he decided that their
+personality should be incorporated in the famous tale which was already
+formulating itself in his brain.
+
+Again, this time in company with the Duc de Montpensier, he journeyed to
+the Mediterranean, "did" Spain, and crossed over to Algiers. When he
+returned he brought back the celebrated vulture, "Jugurtha," whose fame
+was afterward perpetuated in "Mes Betes."
+
+That there was a deal of reality in the characterization and the locale of
+Dumas' romances will not be denied by any who have acquaintance
+therewith. Dumas unquestionably took his material where he found it, and
+his wonderfully retentive memory, his vast capacity for work, and his wide
+experience and extensive acquaintance provided him material that many
+another would have lacked.
+
+M. de Chaffault tells of his having accompanied Dumas by road from Sens to
+Joigny, Dumas being about to appeal to the republican constituency of that
+place for their support of him as a candidate for the parliamentary
+elections.
+
+"In a short time we were on the road," said the narrator, "and the first
+stage of three hours seemed to me only as many minutes. Whenever we passed
+a country-seat, out came a lot of anecdotes and legends connected with its
+owners, interlarded with quaint fancies and epigrams."
+
+Aside from the descriptions of the country around about Crepy, Compiegne,
+and Villers-Cotterets which he wove into the Valois tales, "The Taking of
+the Bastille," and "The Wolf-Leader," there is a strong note of
+personality in "Georges;" some have called it autobiography.
+
+The tale opens in the far-distant Isle of France, called since the English
+occupation Mauritius, and in the narrative of the half-caste Georges
+Munier are supposed to be reflected many of the personal incidents of the
+life of the author.
+
+This story may or may not be a mere repetition of certain of the incidents
+of the struggle of the mulatto against the barrier of the white
+aristocracy, and may have been an echo in Dumas' own life. It is repeated
+it may have been this, or it may have been much more. Certain it is, there
+is an underlying motive which could only have been realized to the full
+extent expressed therein by one who knew and felt the pangs of the
+encounter with a world which only could come to one of genius who was by
+reason of race or creed outclassed by his contemporaries; and therein is
+given the most vivid expression of the rise of one who had everything
+against him at the start.
+
+This was not wholly true of Dumas himself, to be sure, as he was endowed
+with certain influential friends. Still it was mainly through his own
+efforts that he was able to prevail upon the old associates and friends of
+the dashing General Dumas, his father, to give him his first lift along
+the rough and stony literary pathway.
+
+In this book there is a curious interweaving of the life and colour which
+may have had not a little to do with the actual life which obtained with
+respect to his ancestors, and as such, and the various descriptions of
+negro and Creole life, the story becomes at once a document of prime
+interest and importance.
+
+Since Dumas himself has explained and justified the circumstance out of
+which grew the conception of the D'Artagnan romances, it is perhaps
+advisable that some account should be given of the original D'Artagnan.
+
+Primarily, the interest in Dumas' romance of "Les Trois Mousquetaires" is
+as great, if not greater, with respect to the characters as it is with the
+scenes in which they lived and acted their strenuous parts. In addition,
+there is the profound satisfaction of knowing that the rollicking and
+gallant swashbuckler has come down to us from the pages of real life, as
+Dumas himself recounts in the preface to the Colman Levy edition of the
+book. The statement of Dumas is explicit enough; there is no mistaking his
+words which open the preface:
+
+                        "Dans laquelle
+      Il est etabli que, malgre leurs noms en _os_ et en _is_,
+                    Les heros de l'histoire
+  Que nous allons avoir l'honneur de raconter a nos lecteurs
+                N'ont rien de mythologique."
+
+The contemporary facts which connect the real Comte d'Artagnan with
+romances are as follows:
+
+Charles de Batz de Castlemore, Comte d'Artagnan, received his title
+from the little village of Artagnan, near the Gascon town of Orthez in the
+present department of the Hautes-Pyrenees. He was born in 1623. Dumas,
+with an author's license, made his chief figure a dozen years older, for
+the real D'Artagnan was but five years old at the time of the siege of La
+Rochelle of which Dumas makes mention. On the whole, the romance is near
+enough to reality to form an ample endorsement of the author's verity.
+
+
+[Illustration: D'ARTAGNAN]
+
+
+The real D'Artagnan made his way to Paris, as did he of the romance. Here
+he met his fellow Bearnais, one M. de Treville, captain of the king's
+musketeers, and the illustrious individuals, _Armand de Sillegue d'Athos_,
+a Bearnais nobleman who died in 1645, and whose direct descendant, Colonel
+de Sillegue, commanded, according to the French army lists of a recent
+date, a regiment of French cavalry; _Henry d'Aramitz_, lay abbe of Oloron;
+and _Jean de Portu_, all of them probably neighbours in D'Artagnan's old
+home.
+
+D'Artagnan could not then have been at the siege of La Rochelle, but from
+the "Memoires de M. d'Artagnan," of which Dumas writes in his preface, we
+learn of his feats at arms at Arras, Valenciennes, Douai, and Lille, all
+places where once and again Dumas placed the action of the novels.
+
+The real D'Artagnan died, sword in hand, "in the imminent deadly breach"
+at Maestricht, in 1673. He served, too, under Prince Rupert in the Civil
+War, and frequently visited England, where he had an _affaire_ with a
+certain Milady, which is again reminiscent of the pages of Dumas.
+
+This D'Artagnan in the flesh married Charlotte Anne de Chanlecy, and the
+last of his direct descendants died in Paris in the latter years of the
+eighteenth century, but collateral branches of the family appear still to
+exist in Gascony, and there was a certain Baron de Batz, a Bearnais, who
+made a daring attempt to save Marie Antoinette in 1793.
+
+The inception of the whole work in Dumas' mind, as he says, came to him
+while he was making research in the "Bibliotheque Royale" for his history
+of Louis XIV.
+
+Thus from these beginnings grew up that series of romances which gave
+undying fame to Alexandre Dumas, and to the world of readers a series of
+characters and scenes associated with the mediaeval history of France,
+which, before or since, have not been equalled.
+
+Alexandre Dumas has been described as something of the soldier, the cook,
+and the traveller, more of the journalist, diplomatist, and poet, and,
+more than all else, the dramatist, romancer, and _raconteur_. He himself
+has said that he was a "veritable Wandering Jew of literature."
+
+His versatility in no way comprised his abilities, and, while conceit and
+egoism played a not unimportant share in his make-up, his affability--when
+he so chose--caused him to be ranked highly in the estimation of his
+equals and contemporaries. By the cur-dogs, which always snap at the heels
+of a more splendid animal, he was not ranked so high.
+
+Certain of these were for ever twitting him publicly of his creed, race,
+and foibles. It is recorded by Theodore de Bauville, in his "Odes," that
+one Jacquot hailed Dumas in the open street with a ribald jeer, when,
+calmly turning to his detractor, Dumas said, simply: "Hast thou dined
+to-day, Jacquot?" Then it was that this said Jacquot published the
+slanderous brochure, "_La Maison Dumas et Cie_," which has gone down as
+something considerable of a sensation in the annals of literary history;
+so much so, indeed, that most writers who have had occasion to refer to
+Dumas' literary career have apparently half-believed its accusations,
+which, truth to tell, may have had some bearing on "things as they were,"
+had they but been put forward as a bit of temperate criticism rather than
+as a sweeping condemnation.
+
+To give the reader an idea of the Dumas of 1840, one can scarcely do
+better than present his portrait as sketched by De Villemessant, the
+founder and brilliant editor of the _Figaro_, when Dumas was at the height
+of his glory, and a grasp of his hand was better than a touch of genius to
+those receiving it:
+
+"At no time and among no people had it till then been granted to a writer
+to achieve fame in every direction; in serious drama and in comedy, and
+novels of adventure and of domestic interest, in humourous stories and in
+pathetic tales, Alexandre Dumas had been alike successful. The frequenters
+of the Theatre Francais owed him evenings of delight, but so did the
+general public as well. Dumas alone had had the power to touch, interest,
+or amuse, not only Paris or France, but the whole world. If all other
+novelists had been swallowed up in an earthquake, this one would have been
+able to supply the leading libraries of Europe. If all other dramatists
+had died, Alexandre Dumas could have occupied every stage; his magic name
+on a playbill or affixed to a newspaper _feuilleton_ ensured the sale of
+that issue or a full house at the theatre. He was king of the stage,
+prince of _feuilletonists_, _the_ literary man _par excellence_, in that
+Paris then so full of intellect. When he opened his lips the most
+eloquent held their breath to listen; when he entered a room the wit of
+man, the beauty of woman, the pride of life, grew dim in the radiance of
+his glory; he reigned over Paris in right of his sovereign intellect, the
+only monarch who for an entire century had understood how to draw to
+himself the adoration of all classes of society, from the Faubourg St.
+Germain to the Batignolles.
+
+"Just as he united in himself capabilities of many kinds, so he displayed
+in his person the perfection of many races. From the negro he had derived
+the frizzled hair and those thick lips on which Europe had laid a delicate
+smile of ever-varying meaning; from the southern races he derived his
+vivacity of gesture and speech, from the northern his solid frame and
+broad shoulders and a figure which, while it showed no lack of French
+elegance, was powerful enough to have made green with envy the gentlemen
+of the Russian Life-Guards."
+
+Dumas' energy and output were tremendous, as all know. It is recorded that
+on one occasion,--in the later years of his life, when, as was but
+natural, he had tired somewhat,--after a day at _la chasse_, he withdrew
+to a cottage near by to rest until the others should rejoin him, after
+having finished their sport. This they did within a reasonably short
+time,--whether one hour or two is not stated with definiteness,--when
+they found him sitting before the fire "twirling his thumbs." On being
+interrogated, he replied that he had not been sitting there long; _in
+fact, he had just written the first act of a new play_.
+
+The French journal, _La Revue_, tells the following incident, which sounds
+new. Some years before his death, Dumas had written a somewhat quaint
+letter to Napoleon III., apropos of a play which had been condemned by the
+French censor. In this epistle he commenced:
+
+"SIRE:--In 1830, and, indeed, even to-day, there are three men at the head
+of French literature. These three men are Victor Hugo, Lamartine, and
+myself. Although I am the least of the three, the five continents have
+made me the most popular, probably because the one was a thinker, the
+other a dreamer, while I am merely a writer of commonplace tales."
+
+This letter goes on to plead the cause of his play, and from this
+circumstance the censorship was afterward removed.
+
+A story is told of an incident which occurred at a rehearsal of "Les Trois
+Mousquetaires" at the "Ambigu." This story is strangely reminiscent of
+another incident which happened at a rehearsal of Halevy's "Guido et
+Genevra," but it is still worth recounting here, if only to emphasize the
+indomitable energy and perspicacity of Dumas.
+
+It appears that a _pompier_--that gaudy, glistening fireman who is always
+present at functions of all sorts on the continent of Europe--who was
+watching the rehearsal, was observed by Dumas to suddenly leave his point
+of vantage and retire. Dumas followed him and inquired his reason for
+withdrawing. "What made you go away?" Dumas asked of him. "Because that
+last act did not interest me so much as the others," was the answer.
+Whereupon Dumas sent for the prompt-book and threw that portion relating
+to that particular tableau into the fire, and forthwith set about to
+rewrite it on the spot. "It does not amuse the _pompier_," said Dumas,
+"but I know what it wants." An hour and a half later, at the finish of the
+rehearsal, the actors were given their new words for the seventh tableau.
+
+In spite of the varied success with which his plays met, Dumas was, we may
+say, first of all a dramatist, if construction of plot and the moving
+about of dashing and splendid figures counts for anything; and it most
+assuredly does.
+
+This very same qualification is what makes the romances so vivid and
+thrilling; and they do not falter either in accessory or fact.
+
+The cloaks of his swashbucklering heroes are always the correct shade of
+scarlet; their rapiers, their swords, or their pistols are always rightly
+tuned, and their entrances and their exits correctly and most
+appropriately timed.
+
+When his characters represent the poverty of a tatterdemalion, they do it
+with a sincerity that is inimitable, and the lusty throatings of a
+D'Artagnan are never a hollow mockery of something they are not.
+
+Dumas drew his characters of the stage and his personages of the romances
+with the brilliance and assurance of a Velasquez, rather than with the
+finesse of a Praxiteles, and for that reason they live and introduce
+themselves as cosmopolitans, and are to be appreciated only as one studies
+or acquires something of the spirit from which they have been evolved.
+
+Of Dumas' own uproarious good nature many have written. Albert Vandam
+tells of a certain occasion when he went to call upon the novelist at St.
+Germain,--and he reckoned Dumas the most lovable and genial among all of
+his host of acquaintances in the great world of Paris,--that he overheard,
+as he was entering the study, "a loud burst of laughter." "I had sooner
+wait until monsieur's visitors are gone," said he. "Monsieur has no
+visitors," said the servant. "Monsieur often laughs like that at his
+work."
+
+Dumas as a man of affairs or as a politician was not the success that he
+was in the world of letters. His activities were great, and his enthusiasm
+for any turn of affairs with which he allied himself remarkable; but,
+whether he was _en voyage_ on a whilom political mission, at work as
+"Director of Excavations" at Pompeii, or founding or conducting a new
+journal or a new playhouse, his talents were manifestly at a discount. In
+other words, he was singularly unfit for public life; he was not an
+organizer, nor had he executive ability, though he had not a little of the
+skill of prophecy and foresight as to many turns of fortune's wheel with
+respect to world power and the comity of nations.
+
+Commenting upon the political state of Europe, he said: "Geographically,
+Prussia has the form of a serpent, and, like it, she appears to be asleep,
+in order to gain strength to swallow everything around her." All of his
+prophecy was not fulfilled, to be sure, but a huge slice was fed into her
+maw from out of the body of France, and, looking at things at a time fifty
+years ahead of that of which Dumas wrote,--that is, before the
+Franco-Prussian War,--it would seem as though the serpent's appetite was
+still unsatisfied.
+
+In 1847, when Dumas took upon himself to wish for a seat in the
+government, he besought the support of the constituency of the borough in
+which he had lived--St. Germain. But St. Germain denied it him--"on moral
+grounds." In the following year, when Louis-Philippe had abdicated, he
+made the attempt once again.
+
+The republican constituency of Joigny challenged him with respect to his
+title of Marquis de la Pailleterie, and his having been a secretary in the
+Orleans Bureau. The following is his reply--verbatim--as publicly
+delivered at a meeting of electors, and is given here as illustrating well
+the earnestness and devotion to a code which many Puritan and prudish
+moralists have themselves often ignored:
+
+"I was formerly called the Marquis de la Pailleterie, no doubt. It was my
+father's name, and one of which I was very proud, being then unable to
+claim a glorious one of my own make. But at present, when I am somebody, I
+call myself Alexandre Dumas, and nothing more; and every one knows me,
+yourselves among the rest--you, you absolute nobodies, who have come here
+merely to boast, to-morrow, after having given me insult to-night, that
+you have known the great Dumas. If such were your avowed ambition, you
+could have satisfied it without having failed in the common courtesies of
+gentlemen. There is no doubt, either, about my having been a secretary to
+the Duc d'Orleans, and that I have received many favours from his family.
+If you are ignorant of the meaning of the phrase, 'The memories of the
+heart,' allow me, at least, to proclaim loudly that I am not, and that I
+entertain toward this family of royal blood all the devotion of an
+honourable man."
+
+       *       *       *       *       *
+
+That Dumas was ever accused of making use of the work of others, of
+borrowing ideas wherever he found them, and, indeed, of plagiarism
+itself,--which is the worst of all,--has been mentioned before, and the
+argument for or against is not intended to be continued here.
+
+Dumas himself has said much upon the subject in defence of his position,
+and the contemporary scribblers of the time have likewise had their
+say--and it was not brief; but of all that has been written and said, the
+following is pertinent and deliciously naive, and, coming from Dumas
+himself, has value:
+
+"One morning I had only just opened my eyes when my servant entered my
+bedroom and brought me a letter upon which was written the word _urgent_.
+He drew back the curtains; the weather--doubtless by some mistake--was
+fine, and the brilliant sunshine entered the room like a conqueror. I
+rubbed my eyes and looked at the letter to see who had sent it, astonished
+at the same time that there should be only one. The handwriting was quite
+unknown to me. Having turned it over and over for a minute or two, trying
+to guess whose the writing was, I opened it and this is what I found:
+
+     "'SIR:--I have read your "Three Musketeers," being well to do, and
+     having plenty of spare time on my hands--'
+
+     "('Lucky fellow!' said I; and I continued reading.)
+
+     "'I admit that I found it fairly amusing; but, having plenty of time
+     before me, I was curious enough to wish to know if you really did
+     find them in the "Memoirs of M. de La Fere." As I was living in
+     Carcassonne, I wrote to one of my friends in Paris to go to the
+     Bibliotheque Royale, and ask for these memoirs, and to write and let
+     me know if you had really and truly borrowed your facts from them. My
+     friend, whom I can trust, replied that you had copied them word for
+     word, and that it is what you authors always do. So I give you fair
+     notice, sir, that I have told people all about it at Carcassonne,
+     and, if it occurs again, we shall cease subscribing to the _Siecle_.
+
+          "'Yours sincerely,
+              "'----.'
+
+"I rang the bell.
+
+"'If any more letters come for me to-day,' said I to the servant, 'you
+will keep them back, and only give them to me sometime when I seem a bit
+too happy.'
+
+"'Manuscripts as well, sir?'
+
+"'Why do you ask that question?'
+
+"'Because some one has brought one this very moment.'
+
+"'Good! that is the last straw! Put it somewhere where it won't be lost,
+but don't tell me where.'
+
+"He put it on the mantelpiece, which proved that my servant was decidedly
+a man of intelligence.
+
+"It was half-past ten; I went to the window. As I have said, it was a
+beautiful day. It appeared as if the sun had won a permanent victory over
+the clouds. The passers-by all looked happy, or, at least, contented.
+
+"Like everybody else, I experienced a desire to take the air elsewhere
+than at my window, so I dressed, and went out.
+
+"As chance would have it--for when I go out for a walk I don't care
+whether it is in one street or another--as chance would have it, I say, I
+passed the Bibliotheque Royale.
+
+"I went in, and, as usual, found Paris, who came up to me with a charming
+smile.
+
+"'Give me,' said I, 'the "Memoirs of La Fere."'
+
+"He looked at me for a moment as if he thought I was crazy; then, with the
+utmost gravity, he said, 'You know very well they don't exist, because you
+said yourself they did!'
+
+"His speech, though brief, was decidedly pithy.
+
+"By way of thanks I made Paris a gift of the autograph I had received from
+Carcassonne.
+
+"When he had finished reading it, he said, 'If it is any consolation to
+you to know it, you are not the first who has come to ask for the "Memoirs
+of La Fere"; I have already seen at least thirty people who came solely
+for that purpose, and no doubt they hate you for sending them on a fool's
+errand.'
+
+"As I was in search of material for a novel, and as there are people who
+declare novels are to be found ready-made, I asked for the catalogue.
+
+"Of course, I did not discover anything."
+
+       *       *       *       *       *
+
+Every one knows of Dumas' great fame as a gastronome and epicure; some
+recall, also, that he himself was a _cuisinier_ of no mean abilities. How
+far his capacities went in this direction, and how wide was his knowledge
+of the subject, can only be gleaned by a careful reading of his great
+"Dictionnaire de Cuisine." Still further into the subject he may be
+supposed to have gone from the fact that he also published an inquiry, or
+an open letter, addressed to the _gourmands_ of all countries, on the
+subject of mustard.
+
+It is an interesting subject, to be sure, but a trifling one for one of
+the world's greatest writers to spend his time upon; say you, dear reader?
+Well! perhaps! But it is a most fascinating contribution to the literature
+of epicurism, and quite worth looking up and into. The history of the
+subtle spice is traced down through Biblical and Roman times to our own
+day, chronologically, etymologically, botanically, and practically. It
+will be, and doubtless has been, useful to other compilers of essays on
+good cheer.
+
+Whatever may be the subtle abilities which make the true romancer, or
+rather those which make his romances things of life and blood, they were
+possessed by Alexandre Dumas.
+
+Perhaps it is the more easy to construct a romantic play than it is to
+erect, from matter-of-fact components, a really engrossing romantic novel.
+Dumas' abilities seem to fit in with both varieties alike, and if he did
+build to order, the result was in most cases no less successful than if
+evolved laboriously.
+
+It is a curious fact that many serial contributions--if we are to believe
+the literary gossip of the time--are only produced as the printer is
+waiting for copy. The formula is manifestly not a good one upon which to
+build, but it has been done, and successfully, by more writers than one,
+and with scarce a gap unbridged.
+
+Dickens did it,--if it is allowable to mention him here,--and Dumas
+himself did it,--many times,--and with a wonderful and, one may say,
+inspired facility, but then his facility, none the less than his vitality,
+made possible much that was not granted to the laborious Zola.
+
+Dumas was untiring to the very last. His was a case of being literally
+worked out--not worked to death, which is quite a different thing.
+
+It has been said by Dumas _fils_ that in the latter years of the elder's
+life he would sit for length upon length of time, pen in hand, and not a
+word would flow therefrom, ere the ink had dried.
+
+An interesting article on Dumas' last days appeared in _La Revue_ in 1903.
+It dealt with the sadness and disappointments of Dumas' later days, in
+spite of which the impression conveyed of the great novelist's
+personality is very vivid, and he emerges from it much as his books would
+lead one to expect--a hearty, vigorous creature, surcharged with vitality,
+with desire to live and let live, a man possessed of almost equally
+prominent faults and virtues, and generous to a fault.
+
+
+[Illustration: Alexandre Dumas, Fils]
+
+
+Money he had never been able to keep. He had said himself, at a time when
+he was earning a fortune, "I can keep everything but money. Money
+unfortunately always slips through my fingers." The close of his life was
+a horrible struggle to make ends meet. When matters came to a crisis Dumas
+would pawn some of the valuable _objets d'art_ he had collected in the
+opulent past, or ask his son for assistance. But, though the sum asked was
+always given, there were probably few things which the old man would not
+have preferred to this appeal to the younger author.
+
+As he grew old, Dumas _pere_ became almost timid in his attitude toward
+the son, whose disapproval had frequently found expression in advice and
+warning. But Dumas could not settle down, and he could not become careful.
+Neither of these things was in his nature, and there was consequently
+always some little undercurrent of friction between them. To the end of
+his days his money was anybody's who liked to come and ask for it, and
+nothing but the final clouding of his intellectual capacity could reduce
+his optimism. Then, it is true, he fell into a state of sustained
+depression. The idea that his reputation would not last haunted him.
+
+In 1870, when Dumas was already very ill, his son, anxious that he should
+not be in Paris during its investment by the Germans, took him to a house
+he had at Puys, near Dieppe. Here the great man rapidly sank, and, except
+at meal-times, passed his time in a state of heavy sleep, until a sudden
+attack of apoplexy finally seized him. He never rallied after it, and died
+upon the day the Prussian soldiers took possession of Dieppe.
+
+Many stories are rife of Dumas the prodigal. Some doubtless are true, many
+are not. Those which he fathers himself, we might well accept as being
+true. Surely he himself should know.
+
+The following incident which happened in the last days of his life
+certainly has the ring of truth about it.
+
+When in his last illness he left Paris for his son's country house near
+Dieppe, he had but twenty francs, the total fortune of the man who had
+earned millions.
+
+On arriving at Puys, Dumas placed the coin on his bedroom chimneypiece,
+and there it remained all through his illness.
+
+One day he was seated in his chair near the window, chatting with his son,
+when his eye fell on the gold piece.
+
+A recollection of the past crossed his mind.
+
+"Fifty years ago, when I went to Paris," he said, "I had a louis. Why have
+people accused me of prodigality? I have always kept that louis.
+See--there it is."
+
+And he showed his son the coin, smiling feebly as he did so.
+
+
+
+
+CHAPTER IV.
+
+DUMAS' CONTEMPORARIES
+
+
+Among those of the world's great names in literature contemporary with
+Dumas, but who knew Paris ere he first descended upon it to try his
+fortune in its arena of letters, were Lamartine, who already, in 1820, had
+charmed his public with his "Meditations;" Hugo, who could claim but
+twenty years himself, but who had already sung his "Odes et Ballades," and
+Chateaubriand.
+
+Soulie and De Vigny won their fame with poems and plays in the early
+twenties, De Musset and Chenier followed before a decade had passed, and
+Gautier was still serving his apprenticeship.
+
+It was the proud Goethe who said of these young men of the twenties, "They
+all come from Chateaubriand." Beranger, too, "the little man," even though
+he was drawing on toward the prime of life, was also singing melodiously:
+it was his _chansons_, it is said, that upset the Bourbon throne and
+made way for the "citizen-king." Nodier, of fanciful and fantastic rhyme,
+was already at work, and Merimee had not yet taken up the administrative
+duties of overseeing the preserving process which at his instigation was,
+at the hands of a paternal government, being applied to the historical
+architectural monuments throughout France; a glory which it is to be
+feared has never been wholly granted to Merimee, as was his due.
+
+
+[Illustration: TWO FAMOUS CARICATURES OF ALEXANDRE DUMAS]
+
+
+Guizot, the _bete noire_ of the later Louis-Philippe, was actively writing
+from 1825 to 1830, and his antagonist, Thiers, was at the same period
+producing what Carlyle called the "voluminous and untrustworthy labours of
+a brisk little man in his way;" which recalls to mind the fact that
+Carlylean rant--like most of his prose--is a well-nigh insufferable thing.
+
+At this time Mignet, the historian, was hard at work, and St. Beauve had
+just deserted _materia medica_ for literature. Michelet's juvenile
+histories were a production of the time, while poor, unhonoured, and then
+unsung, Balzac was grinding out his pittance--in after years to grow into
+a monumental literary legacy--in a garret.
+
+Eugene Sue had not yet taken to literary pathways, and was scouring the
+seas as a naval surgeon.
+
+The drama was prolific in names which we have since known as masters,
+Scribe, Halevy, and others.
+
+George Sand, too, was just beginning that grand literary life which opened
+with "Indiana" in 1832, and lasted until 1876. She, like so many of the
+great, whose name and fame, like Dumas' own, has been perpetuated by a
+monument in stone, the statue which was unveiled in the little town of her
+birth on the Indre, La Chatre, in 1903.
+
+Like Dumas, too, hers was a cyclopean industry, and so it followed that in
+the present twentieth century (in the year 1904), another and a more
+glorious memorial to France's greatest woman writer was unveiled in the
+Garden of the Luxembourg.
+
+Among the women famous in the _monde_ of Paris at the time of Dumas'
+arrival were Mesdames Desbordes-Valmore, Amable Tastu, and Delphine Gay.
+
+"For more than half a century this brilliant group of men and women
+sustained the world of ideas and poetry," said Dumas, in his "Memoires,"
+"and I, too," he continued, "have reached the same plane ... unaided by
+intrigue or coterie, and using none other than my own work as the
+stepping-stone in my pathway."
+
+Dumas cannot be said to have been niggardly with his praise of the work of
+others. He said of a sonnet of Arnault's--"La Feuille"--that it was a
+masterpiece which an Andre Chenier, a Lamartine, or a Hugo might have
+envied, and that for himself, not knowing what his "literary brothers"
+might have done, he would have given for it "any one of his dramas."
+
+It was into the office of Arnault, who was chief of a department in the
+Universite, that Beranger took up his labours as a copying-clerk,--as did
+Dumas in later years,--and it was while here that Beranger produced his
+first ballad, the "Roi d'Yvetot."
+
+In 1851 Millet was at his height, if one considers what he had already
+achieved by his "great agrarian poems," as they have been called. Gautier
+called them "Georgics in paint," and such they undoubtedly were. Millet
+would hardly be called a Parisian; he was not of the life of the city, but
+rather of that of the countryside, by his having settled down at Barbizon
+in 1849, and practically never left it except to go to Paris on business.
+
+His life has been referred to as one of "sublime monotony," but it was
+hardly that. It was a life devoted to the telling of a splendid story,
+that of the land as contrasted with that of the paved city streets.
+
+Corot was a real Parisian, and it was only in his early life in the
+provinces that he felt the bitterness of life and longed for the
+flagstones of the quais, for the Tuileries, the Seine, and his beloved Rue
+de Bac, where he was born on 10th Thermidor, Year IV. (July 28, 1796).
+Corot early took to painting the scenes of the metropolis, as we learn
+from his biography, notably at the point along the river bank where the
+London steamer moors to-day. But these have disappeared; few or none of
+his juvenile efforts have come down to us.
+
+Corot returned to Paris, after many years spent in Rome, during the reign
+of Louis-Philippe, when affairs were beginning to stir themselves in
+literature and art. In 1839 his "Site d'Italie" and a "Soir" were shown at
+the annual Salon,--though, of course, he had already been an exhibitor
+there,--and inspired a sonnet of Theophile Gautier, which concludes:
+
+  "Corot, ton nom modest, ecrit dans un coin noir."
+
+Corot's pictures _were_ unfortunately hung in the darkest corners--for
+fifteen years. As he himself has said, it was as if he were in the
+catacombs. In 1855 Corot figured as one of the thirty-four judges
+appointed by Napoleon III. to make the awards for paintings exhibited in
+the world's first Universal Exhibition. It is not remarked that Corot had
+any acquaintance or friendships with Dumas or with Victor Hugo, of whom he
+remarked, "This Victor Hugo seems to be pretty famous in literature." He
+knew little of his contemporaries, and the hurly-burly knew less of him.
+He was devoted, however, to the genius of his superiors--as he doubtless
+thought them. Of Delacroix he said one day, "He is an eagle, and I am only
+a lark singing little songs in gray clouds."
+
+A literary event of prime importance during the latter years of Dumas'
+life in Paris, when his own purse was growing thin, was the publication of
+the "Histoire de Jules Cesar," written by Napoleon III.
+
+Nobody ever seems to have taken the second emperor seriously in any of his
+finer expressions of sentiment, and, as may be supposed, the publication
+of this immortal literary effort was the occasion of much sarcasm, banter,
+violent philippic, and sardonic criticism.
+
+Possibly the world was not waiting for this work, but royalty, no less
+than other great men, have their hobbies and their fads; Nero fiddled, and
+the first Napoleon read novels and threw them forthwith out of the
+carriage window, so it was quite permissible that Napoleon III. should
+have perpetuated this life history of an emperor whom he may justly and
+truly have admired--perhaps envied, in a sort of impossible way.
+
+Already Louis Napoleon's collection of writings was rather voluminous, so
+this came as no great surprise, and his literary reputation was really
+greater than that which had come to him since fate made him the master of
+one of the foremost nations of Europe.
+
+From his critics we learn that "he lacked the grace of a popular author;
+that he was quite incapable of interesting the reader by a charm of
+manner; and that his _style_ was meagre, harsh, and grating, but
+epigrammatic." No Frenchman could possibly be otherwise.
+
+Dumas relates, again, the story of Sir Walter Scott's visit to Paris,
+seeking documents which should bear upon the reign of Napoleon. Dining
+with friends one evening, he was invited the next day to dine with Barras.
+But Scott shook his head. "I cannot dine with that man," he replied. "I
+shall write evil of him, and people in Scotland would say that I have
+flung the dishes from his own table at his head."
+
+It is not recorded that Dumas' knowledge of swordsmanship was based on
+practical experience, but certainly no more scientific sword-play of
+_passe_ and _touche_ has been put into words than that wonderful attack
+and counter-attack in the opening pages of "Les Trois Mousquetaires."
+
+Of the _duel d'honneur_ there is less to be said, though Dumas more than
+once sought to reconcile estranged and impetuous spirits who would have
+run each other through, either by leaden bullet or the sword. A notable
+instance of this was in the memorable _affaire_ between Louis Blanc of
+_L'Homme-Libre_ and Dujarrier-Beauvallon of _La Presse_. The latter told
+Dumas that he had no alternative but to fight, though he went like a lamb
+to the slaughter, and had no knowledge of the _code_ nor any skill with
+weapons.
+
+Dumas _pere_ was implored by the younger Dumas--both of whom took
+Dujarrier's interests much to heart--to go and see Grisier and claim his
+intervention. "I cannot do it," said the elder; "the first and foremost
+thing to do is to safeguard his reputation, which is the more precious
+because it is his first duel." The Grisier referred to was the great
+master of fence of the time who was immortalized by Dumas in his "Maitre
+d'Armes."
+
+Dumas himself is acknowledged, however, on one occasion, at least, to
+have acted as second--co-jointly with General Fleury--in an _affaire_
+which, happily, never came off.
+
+It was this Blanc-Dujarrier duel which brought into further prominent
+notice that most remarkable and quasi-wonderful woman, Lola Montez; that
+daughter of a Spaniard and a Creole, a native of Limerick, pupil of a
+boarding-school at Bath, and one-time resident of Seville; to which may be
+added, on the account of Lord Malmesbury, "The woman who in Munich set
+fire to the magazine of revolution which was ready to burst forth all over
+Europe."
+
+She herself said that she had also lived in Calcutta as the wife of an
+officer in the employ of the East India Company; had at one time been
+reduced to singing in the streets at Brussels; had danced at the Italian
+Opera in London,--"not much, but as well as half the ugly wooden women who
+were there,"--and had failed as a dancer in Warsaw.
+
+"This illiterate schemer," says Vandam, "who probably knew nothing of
+geography or history, had pretty well the Almanach de Gotha by heart."
+"Why did I not come earlier to Paris?" she once said. "What was the good?
+There was a king there bourgeois to his finger-nails, tight-fisted
+besides, and notoriously the most moral and the best father in all the
+world."
+
+This woman, it seems, was a beneficiary in the testament of Dujarrier, who
+died as a result of his duel, to the extent of eighteen shares in the
+Theatre du Palais Royal, and in the trial which followed at Rouen, at
+which were present all shades and degrees of literary and professional
+people, Dumas, Gustave Flaubert, and others, she insisted upon appearing
+as a witness, for no reason whatever, apparently, than that of further
+notoriety. "Six months from this time," as one learns from Vandam, "her
+name was almost forgotten by all of us except Alexandre Dumas, who once
+and again alluded to her." "Though far from superstitious, Dumas, who had
+been as much smitten with her as most of her admirers, avowed that he was
+glad that she had disappeared. 'She has the evil eye,' said he, 'and is
+sure to bring bad luck to any one who closely links his destiny with
+hers.'"
+
+There is no question but that Dumas was right, for she afterward--to
+mention but two instances of her remarkably active career--brought
+disaster "most unkind" upon Louis I. of Bavaria; committed bigamy with an
+English officer who was drowned at Lisbon; and, whether in the guise of
+lovers or husbands, all, truly, who became connected with her met with
+almost immediate disaster.
+
+The mere mention of Lola Montez brings to mind another woman of the same
+category, though different in character, Alphonsine Plessis, more
+popularly known as La Dame aux Camelias. She died in 1847, and her name
+was not Marie or Marguerite Duplessis, but as above written.
+
+Dumas _fils_ in his play did not idealize Alphonsine Plessis' character;
+indeed, Dumas _pere_ said that he did not even enlarge or exaggerate any
+incident--all of which was common property in the _demi-monde_--"save that
+he ascribed her death to any cause but the right one." "I know he made use
+of it," said the father, "but he showed the malady aggravated by Duval's
+desertion."
+
+We learn that the elder Dumas "wept like a baby" over the reading of his
+son's play. But his tears did not drown his critical faculty. "At the
+beginning of the third act," said Dumas _pere_, "I was wondering how
+Alexandre would get his Marguerite back to town, ... but the way Alexandre
+got out of the difficulty proves that he is my son, every inch of him, and
+at the very outset of his career he is a better dramatist than I am ever
+likely to be."
+
+"Alphonsine Plessis was decidedly a real personage, but not an ordinary
+one in her walk of life," said Doctor Veron. "A woman of her refinement
+might not have been impossible in a former day, because the grisette--and
+subsequently the _femme entretenue_--was not then even surmised. She
+interests me much; she is the best dressed woman in Paris, she neither
+conceals nor hides her vices, and she does not continually hint about
+money; in short, she is wonderful."
+
+"La Dame aux Camelias" appeared within eighteen months of the actual death
+of the heroine, and went into every one's hands, interest being whetted
+meanwhile by the recent event, and yet more by much gossip--scandal if you
+will--which universally appeared in the Paris press. Her pedigree was
+evolved and diagnosed by Count G. de Contades in a French bibliographical
+journal, _Le Livre_, which showed that she was descended from a
+"_guenuchetonne_" (slattern) of Longe, in the canton of Brionze, near
+Alencon; a predilection which the elder Dumas himself had previously put
+forth when he stated that, "I am certain that one might find taint either
+on the father's side, or on the mother's, probably on the former's, but
+more probably still on both."
+
+The following eulogy, extracted from a letter written to Dumas _fils_ by
+Victor Hugo upon the occasion of the inhumation of the ashes of Alexandre
+Dumas at Villers-Cotterets, whither they were removed from Puits, shows
+plainly the esteem in which his literary abilities were held by the more
+sober-minded of his compeers:
+
+     "MON CHER CONFRERE:--I learn from the papers of the funeral of
+     Alexandre Dumas at Villers-Cotterets.... It is with regret that I am
+     unable to attend.... But I am with you in my heart.... What I would
+     say, let me write.... No popularity of the past century has equalled
+     that of Alexandre Dumas. His successes were more than successes: they
+     were triumphs.... The name of Alexandre Dumas is more than 'Francais,
+     il est Europeen;' and it is more than European, it is universal. His
+     theatre has been given publicity in all lands, and his romances have
+     been translated into all tongues. Alexandre Dumas was one of those
+     men we can call the sowers of civilization.... Alexandre Dumas is
+     seducing, fascinating, interesting, amusing, and informing.... All
+     the emotions, the most pathetic, all the irony, all the comedy, all
+     the analysis of romance, and all the intuition of history are found
+     in the supreme works constructed by this great and vigorous
+     architect.
+
+     "... His spirit was capable of all the miracles he performed; this
+     he bequeathed and this survives.... Your renown but continues his
+     glory.
+
+     "... Your father and I were young together.... He was a grand and
+     good friend.... I had not seen him since 1857.... As I entered Paris
+     Alexandre Dumas was leaving. I did not have even a parting shake of
+     the hand.
+
+     "The visit which he made me in my exile I will some day return to his
+     tomb.
+
+     "_Cher confrere, fils de mon ami, je vous embrasse._
+
+          "VICTOR HUGO."
+
+Of Dumas, Charles Reade said: "He has never been properly appreciated; he
+is the prince of dramatists, the king of romancists, and the emperor of
+good fellows."
+
+Dumas _fils_ he thought a "vinegar-blooded iconoclast--shrewd, clever,
+audacious, introspective, and mathematically logical."
+
+       *       *       *       *       *
+
+The Cimetiere du Pere La Chaise has a contemporary interest with the names
+of many who were contemporaries of Dumas in the life and letters of his
+day.
+
+Of course, sentimental interest first attaches itself to the Gothic
+canopy--built from the fragments of the convent of Paraclet--which
+enshrines the remains of Abelard and Heloise (1142-64), and this perhaps
+is as it should be, but for those who are conversant with the life of
+Paris of Dumas' day, this most "famous resting-place" has far more
+interest because of its shelter given to so many of Dumas' contemporaries
+and friends.
+
+Scribe, who was buried here 1861; Michelet, d. 1874; Delphine Cambaceres,
+1867; Lachambeaudie, 1872; Soulie, 1847; Balzac, 1850; Ch. Nodier, 1844;
+C. Delavigne, 1843; Delacroix, the painter, 1865; Talma, the tragedian,
+1826; Boieldieu, the composer, 1834; Chopin, 1849; Herold, 1833; General
+Foy, 1825; David d'Angers, 1856; Hugo, 1828 (the father of Victor Hugo);
+David, the painter, 1825; Alfred de Musset, 1857; Rossini, 1868.
+
+
+[Illustration: TOMB OF ABELARD AND HELOISE]
+
+
+
+
+CHAPTER V.
+
+THE PARIS OF DUMAS
+
+
+Dumas' real descent upon the Paris of letters and art was in 1823, when he
+had given up his situation in the notary's office at Crepy, and after the
+eventful holiday journey of a few weeks before. His own account of this,
+his fourth entrance into the city, states that he was "landed from the
+coach at five A. M. in the Rue Bouloi, No. 9. It was Sunday morning, and
+Bourbon Paris was very gloomy on a Sunday."
+
+Within a short time of his arrival the young romancer was making calls, of
+a nature which he hoped would provide him some sort of employment until he
+should make his way in letters, upon many bearers of famous Bourbon names
+who lived in the Faubourgs St. Germain and St. Honore--all friends and
+compatriots of his father.
+
+He had brought with him letters formerly written to his father, and hoped
+to use them as a means of introduction. He approached Marshal Jourdain,
+General Sebastiani, the Duc de Bellune, and others, but it was not until
+he presented himself to General Foy, at 64 Rue du Mont Blanc,--the deputy
+for his department,--that anything to his benefit resulted.
+
+Finally, through the kindly aid of General Foy, Dumas--son of a republican
+general though he was--found himself seated upon a clerk's stool, quill in
+hand, writing out dictation at the secretary's bureau of the Duc
+d'Orleans.
+
+"I then set about to look for lodgings," said Dumas, "and, after going up
+and down many staircases, I came to a halt in a little room on a fourth
+story, which belonged to that immense pile known as the 'Pate des
+Italiens.' The room looked out on the courtyard, and I was to have it for
+one hundred and twenty francs per annum."
+
+From that time on Dumas may be said to have known Paris intimately--its
+life, its letters, its hotels and restaurants, its theatres, its salons,
+and its boulevards.
+
+So well did he know it that he became a part and parcel of it.
+
+His literary affairs and relations are dealt with elsewhere, but the
+various aspects of the social and economic life of Paris at the time Dumas
+knew its very pulse-beats must be gleaned from various contemporary
+sources.
+
+
+[Illustration: General Foy's Residence]
+
+
+The real Paris which Dumas knew--the Paris of the Second Empire--exists no
+more. The order of things changeth in all but the conduct of the stars,
+and Paris, more than any other centre of activity, scintillates and
+fluctuates like the changings of the money-markets.
+
+The life that Dumas lived, so far as it has no bearing on his literary
+labours or the evolving of his characters, is quite another affair from
+that of his yearly round of work.
+
+He knew intimately all the gay world of Paris, and fresh echoes of the
+part he played therein are being continually presented to us.
+
+He knew, also, quite as intimately, certain political and social movements
+which took place around about him, in which he himself had no part.
+
+It was in the fifties of the nineteenth century that Paris first became
+what one might call a coherent mass. This was before the days of the
+application of the adjective "Greater" to the areas of municipalities.
+Since then we have had, of course, a "Greater Paris" as we have a "Greater
+London" and a "Greater New York," but at the commencement of the Second
+Empire (1852) there sprang into being,--"jumped at one's eyes," as the
+French say,--when viewed from the heights of the towers of Notre Dame, an
+immense panorama, which showed the results of a prodigious development,
+radiating far into the distance, from the common centre of the _Ile de la
+Cite_ and the still more ancient _Lutece_.
+
+Up to the construction of the present fortifications,--under
+Louis-Philippe,--Paris had been surrounded, at its outer confines, by a
+simple _octroi_ barrier of about twenty-five kilometres in circumference,
+and pierced by fifty-four entrances. Since 1860 this wall has been raised
+and the limits of what might be called Paris proper have been extended up
+to the fortified lines.
+
+This fortification wall was thirty-four kilometres in length; was
+strengthened by ninety-four bastions, and surrounded and supported by
+thirteen detached forts. Sixty-five openings gave access to the inner
+city, by which the roadways, waterways, and railways entered. These were
+further distinguished by classification as follows: _portes_--of which
+there were fifty; _poternes_--of which there were five; and _passages_--of
+which there were ten. Nine railways entered the city, and the "_Ceinture_"
+or girdle railway, which was to bind the various _gares_, was already
+conceived.
+
+At this time, too, the Quais received marked attention and development;
+trees were planted along the streets which bordered upon them, and a vast
+system of sewerage was planned which became--and endures until to-day--one
+of the sights of Paris, for those who take pleasure in such unsavoury
+amusements.
+
+Lighting by gas was greatly improved, and street-lamps were largely
+multiplied, with the result that Paris became known for the first time as
+"_La Ville Lumiere_."
+
+A score or more of villages, or _bourgs_, before 1860, were between the
+limits of these two barriers, but were at that time united by the _loi
+d'annexion_, and so "Greater Paris" came into being.
+
+The principle _bourgs_ which lost their identity, which, at the same time
+is, in a way, yet preserved, were Auteuil, Passy, les Ternes, Batignolles,
+Montmartre, la Chapelle, la Villette, Belleville, Menilmontant, Charenton,
+and Bercy; and thus the population of Paris grew, as in the twinkling of
+an eye, from twelve hundred thousand to sixteen hundred thousand; and its
+superficial area from thirty-four hundred _hectares_ to more than eight
+thousand--a _hectare_ being about the equivalent of two and a half acres.
+
+During the period of the "Restoration," which extended from the end of the
+reign of the great Napoleon to the coming of Louis-Philippe (1814-30),
+Paris may be said to have been in, or at least was at the beginning of,
+its golden age of prosperity.
+
+In a way the era was somewhat inglorious, but in spite of liberal and
+commonplace opinion, there was made an earnest effort to again secure the
+pride of place for French letters and arts; and it was then that the
+romantic school, with Dumas at its very head, attained its first
+importance.
+
+It was not, however, until Louis-Philippe came into power that civic
+improvements made any notable progress, though the Pont des Invalides had
+been built, and gas-lamps, omnibuses, and sidewalks, had been introduced
+just previously.
+
+Under Louis-Philippe were completed the Eglise de la Madeleine and the Arc
+de Triomphe d'Etoile. The Obelisk,--a gift from Mohammed Ali, Viceroy of
+Egypt, to Louis-Philippe,--the Colonne de Juillet, and the Ponts
+Louis-Philippe and du Carrousel were built, as well as the modern
+fortifications of Paris, with their detached forts of Mont Valerien, Ivry,
+Charenton, Nogent, etc.
+
+There existed also the encircling boulevards just within the
+fortifications, and yet another parallel series on the north, beginning at
+the Madeleine and extending to the Colonne de Juillet.
+
+It was not, however, until the Second Republic and the Second Empire of
+Napoleon III. that a hitherto unparallelled transformation was undertaken,
+and there sprung into existence still more broad boulevards and spacious
+squares, and many palatial civic and private establishments, the Bourse,
+the New Opera, and several theatres, the Ceinture Railway, and the Bois de
+Boulogne and the Bois de Vincennes.
+
+By this time Dumas' activities were so great, or at least the product
+thereof was so great, that even his intimate knowledge of French life of a
+more heroic day could not furnish him all the material which he desired.
+
+It was then that he produced those essentially modern stories of life in
+Paris of that day, which, slight though they are as compared with the
+longer romances, are best represented by the "Corsican Brothers," "Captain
+Pamphile," and "Gabriel Lambert."
+
+       *       *       *       *       *
+
+Among the buildings at this time pulled down, on the Place du Carrousel,
+preparatory to the termination of the Louvre, was the Hotel Longueville,
+the residence of the beautiful duchess of that name, celebrated for her
+support of the Fronde and her gallantries, as much as for her beauty.
+Dumas would have revelled in the following incident as the basis of a
+tale. In the arched roof of one of the cellars of the duchess' hotel two
+skeletons of a very large size and in a perfect state of preservation were
+discovered, which have since been the object of many discussions on the
+part of the antiquarians, but _adhuc sub judice lis est_. Another
+discovery was made close by the skeletons, which is more interesting from
+a literary point of view; namely, that of a box, in carved steel,
+embellished with gilded brass knobs, and containing several papers. Among
+them was an amatory epistle in verse, from the Prince de Marsillac to the
+fair duchess. The other papers were letters relating to the state of
+affairs at that time; some from the hand of the celebrated Turenne, with
+memorandums, and of the Prince de Conti, "of great value to autograph
+collectors," said the newspaper accounts of the time, but assuredly of
+still more value to historians, or even novelists.
+
+At this time Paris was peopled with many hundreds--perhaps thousands--of
+_mauvais sujets_, and frequent robberies and nightly outrages were more
+numerous than ever. The government at last hit on the plan of sending to
+the _bagnes_ of Toulon and Brest for several of the turnkeys and gaolers
+of those great convict _depots_, to whom the features of all their former
+prisoners were perfectly known. These functionaries, accompanied by a
+policeman in plain clothes, perambulated every part of Paris by day, and
+by night frequented all the theatres, from the Grand Opera downward, the
+low _cafes_ and wine-shops. It appears that more than four hundred of
+these desperadoes were recognized and retransferred to their old quarters
+at Toulon. Some of these worthies had been carrying on schemes of
+swindling on a colossal scale, and more than one is described as having
+entered into large speculations on the Bourse. Perhaps it was from some
+such circumstance as this that Dumas evolved that wonderful narrative of
+the life of a forger, "Gabriel Lambert." One of the most noted in the
+craft was known by the _soubriquet_ of Pierre Mandrin, the name of that
+_celebre_ being conferred on account of his superiority and skill in
+assuming disguises. When arrested he was figuring as a Polish count, and
+covered with expensive rings and jewelry. The career of this ruffian is
+interesting. In 1839, while undergoing an imprisonment of two years for
+robbery, he attempted to make his escape by murdering the gaoler, but
+failed, however, and was sent to the galleys at Toulon for twenty years.
+In 1848 he did escape from Brest, and, notwithstanding the greatest
+exertions on the part of the police, he succeeded in crossing the whole
+of France and gaining Belgium, where he remained for some time. Owing to
+the persecutions of the Belgian police, he subsequently returned to
+France. He was so unfortunate as to be captured in the very act of
+breaking into a house at Besancon, but his prodigious activity enabled him
+once again to escape while on his way to prison, and he came to Paris.
+Being possessed of some money, he resolved to abandon his evil courses,
+and set up a greengrocer's shop in the Rue Rambuteau, which went on
+thrivingly for some time. But such an inactive life was insupportable to
+him, and he soon resumed his former exciting pursuits. Several robberies
+committed with consummate skill soon informed the police of the presence
+in Paris of some great master of the art of Mercury. The most experienced
+officers were accordingly sent out, but they made no capture until one of
+the Toulon gaolers fancied he recollected the convict under the features
+of an elegantly attired _lion_ on the Boulevard des Italiens. A few hours
+afterward the luckless _echappe_ was safely lodged at the Conciergerie. At
+his lodgings, besides the usual housebreaking implements, a complete
+assortment of costumes of every kind was discovered--from that of the
+dandy of the first water to the blouse of the artisan.
+
+There is something more than a morbid interest which attaches itself to
+the former homes and haunts of a great author or artist. The emotion is
+something akin to sentiment, to be sure, but it is pardonable; far more so
+than the contemplation of many more popular and notorious places.
+
+He who would follow the footsteps of Alexandre Dumas about Paris must
+either be fleet of foot, or one who can sustain a long march. At any rate,
+the progress will take a considerable time.
+
+It is impossible to say in how many places he lived, though one gathers
+from the "Memoires," and from contemporary information, that they numbered
+many score, and the uncharitable have further said that he found it more
+economical to move than to pay his rents. Reprehensible as this practice
+may be, Dumas was no single exponent of it--among artists and authors; and
+above all in his case, as we know, it resulted from imprudence and
+ofttimes misplaced confidence and generosity.
+
+One of Dumas' early homes in Paris, jocularly called by him "La Pate
+d'Italie," was situated in that famous centre of unconventionality, the
+Boulevard des Italiens, a typical tree-shaded and cafe-lined boulevard.
+
+Its name was obviously acquired from its resemblance to, or suggestion of
+being constructed of, that mastic which is known in Germany as noodles,
+in Italy as macaroni, and in English-speaking countries as dough.
+
+To-day the structure, as it then was, exists no more, though the present
+edifice at the corner of the Rue Louis le Grand, opposite the vaudeville
+theatre, has been assuredly stated as in no wise differing in general
+appearance from its prototype, and, as it is after the same ginger-cake
+style of architecture, it will serve its purpose.
+
+Albert Vandam, in "An Englishman in Paris," that remarkable book of
+reminiscence whose authorship was so much in doubt when the work was first
+published, devoted a whole chapter to the intimacies of Dumas _pere_;
+indeed, nearly every feature and character of prominence in the great
+world of Paris--at the time of which he writes--strides through the pages
+of this remarkably illuminating book, in a manner which is unequalled by
+any conventional volume of "Reminiscence," "Observations," or "Memoirs"
+yet written in the English language, dealing with the life of Paris--or,
+for that matter, of any other capital.
+
+His account, also, of a "literary cafe" of the Paris of the forties could
+only have been written by one who knew the life intimately, and, so far as
+Dumas' acquaintances and contemporaries are concerned, Vandam's book
+throws many additional side-lights on an aspect which of itself lies in no
+perceptible shadow.
+
+Even in those days the "boulevards"--the popular resort of the men of
+letters, artists, and musical folk--meant, as it does to-day, a somewhat
+restricted area in the immediate neighbourhood of the present Opera. At
+the corner of the Rue Lafitte was a tobacconist's shop, whose genius was a
+"splendid creature," of whom Alfred de Musset became so enamoured that his
+friends feared for an "imprudence on his part." The various elements of
+society and cliques had their favourite resorts and rendezvous; the actors
+under the trees in the courtyard of the Palais Royal; the _ouvrier_ and
+his family meandered in the Champs Elysees or journeyed countryward to
+Grenelle; while the soldiery mostly repaired to La Plaine de St. Denis.
+
+A sister to Thiers kept a small dining establishment in the Rue Drouet,
+and many journalistic and political gatherings were held at her _tables
+d'hote_. When asked whether her delicious pheasants were of her
+illustrious brother's shooting, she shook her head, and replied: "No, M.
+the President of the Council has not the honour to supply my
+establishment."
+
+Bohemia, as Paris best knew it in the fifties, was not that pleasant land
+which lies between the Moravian and the Giant Mountains; neither were the
+Bohemians of Paris a Slavonic or Teutonic people of a strange, nomad race.
+
+But the history of the Bohemia of arts and letters--which rose to its
+greatest and most prophetic heights in the Paris of the nineteenth
+century--would no doubt prove to be as extensive a work as Buckle's
+"History of Civilization," though the recitation of tenets and principles
+of one would be the inevitable reverse of the other.
+
+The intellectual Bohemian--the artist, or the man of letters--has
+something in his make-up of the gipsy's love of the open road; the
+vagabond who instinctively rebels against the established rules of
+society, more because they are established than for any other reason.
+
+Henri Muerger is commonly supposed to have popularized the "Bohemia" of
+arts and letters, and it is to him we owe perhaps the most graphic
+pictures of the life which held forth in the _Quartier Latin_, notorious
+for centuries for its lack of discipline and its defiance of the laws of
+Church, state, and society. It was the very nursery of open thought and
+liberty against absolutism and the conventional proprieties.
+
+Gustave Nadaud described this "unknown land" in subtle verse, which loses
+not a little in attempted paraphrase:
+
+  "There stands behind Ste. Genevieve,
+  A city where no fancy paves
+    With gold the narrow streets,
+  But jovial youth, the landlady
+  On gloomy stairs, in attic high,
+  Gay hope, her tenant, meets.
+
+    *       *       *       *       *
+
+  'Twas there that the Pays Latin stood,
+  'Twas there the world was _really_ good,
+    'Twas there that she was gay."
+
+Of the freedom and the unconventionally of the life of the Bohemian world
+of Paris, where the lives of literature and art blended in an almost
+imperceptible manner, and the gay indifference of its inhabitants, one has
+but to recall the incident where George Sand went to the studio of the
+painter Delacroix to tell him that she had sad news for him; that she
+could never love him; and more of the same sort. "Indeed," said Delacroix,
+who kept on painting.--"You are angry with me, are you not? You will never
+forgive me?"--"Certainly I will," said the painter, who was still at his
+work, "but I've got a bit of sky here that has caused me a deal of trouble
+and is just coming right. Go away, or sit down, and I will be through in
+ten minutes." She went, and of course did not return, and so the _affaire_
+closed.
+
+Dumas was hardly of the Pays Latin. He had little in common with the
+Bohemianism of the _poseur_, and the Bohemia of letters and art has been
+largely made up of that sort of thing.
+
+More particularly Dumas' life was that of the boulevards, of the
+journalist, of tremendous energy and output rather than that of the
+_dilettante_, and so he has but little interest in the south bank of the
+Seine.
+
+       *       *       *       *       *
+
+Michelet, while proclaiming loudly for French literature and life in _Le
+Peuple_, published in 1846, desponds somewhat of his country from the fact
+that the overwhelming genius of the popular novelists of that day--and who
+shall not say since then, as well--have sought their models, too often, in
+dingy cabarets, vile dens of iniquity, or even in the prisons themselves.
+
+He said: "This mania of slandering oneself, of exhibiting one's sores, and
+going, as it were, to look for shame, will be mortal in the course of
+time."
+
+This may, to a great extent, have been true then--and is true
+to-day--manifestly, but no lover of the beautiful ought to condemn a
+noisome flower if but its buds were beautiful, and Paris--the Paris of
+the Restoration, the Empire, or the Republic--is none the worse in the
+eyes of the world because of the iniquities which exist in every large
+centre of population, where creeds and intellects of all shades and
+capacities are herded together.
+
+The French novelist, it is true, can be very sordid and banal, but he can
+be as childlike and bland as an unsophisticated young girl--when he has a
+mind to.
+
+Dumas' novels were not lacking in vigour, valour, or action, and he wrote
+mostly of romantic times; so Michelet could not have referred to him.
+Perhaps he had the "Mysteries of Paris" or "The Wandering Jew" in mind,
+whose author certainly did give full measure of sordid detail; but then,
+Sue has been accused before now as not presenting a strictly truthful
+picture.
+
+So much for the presentation of the _tableaux_. But what about the actual
+condition of the people at the time?
+
+Michelet's interest in Europe was centred on France and confined to _le
+peuple_; a term in which he ofttimes included the _bourgeois_, as well he
+might, though he more often regarded those who worked with their hands. He
+repeatedly says: "I myself have been one of those workmen, and, although
+I have risen to a different class, I retain the sympathies of my early
+conditions."
+
+Michelet's judgment was quite independent and original when he compared
+the different classes; and he had a decided preference for that section
+which cultivates the soil, though by no means did he neglect those engaged
+in trade and manufacture. The _ouvrier industriel_ was as much entitled to
+respect as the labourer in the fields, or even the small tenant-farmer. He
+regretted, of course, the competition which turned _industrialisme_ into a
+cut-throat policy. He furthermore had this to say concerning foreign
+trade:
+
+"Alsace and Lyons have conquered art and science to achieve beauty for
+others.... The 'fairy of Paris' (the _modiste_) meets, from minute to
+minute, the most unexpected flights of fancy--and she _or he_ does to-day,
+be it recalled. _Les etrangers_ come in spite of themselves, and they buy
+of her (France); _ils achetent_--but what?--patterns, and then go basely
+home and copy them, to the loss, _but to the glory_, of France.
+
+"The Englishman or the German buys a few pieces of goods at Paris or
+Lyons; just as in letters France writes and Belgium sells."
+
+On the whole, Michelet thought that the population was more successful in
+tilling the soil than in the marts of the world; and there is this to be
+said, there is no question but what France is a self-contained country,
+though its arts have gone forth into the world and influenced all nations.
+
+Paris is, ever has been, and proudly--perhaps rightly--thinks that it ever
+will be, the artistic capital of the world.
+
+Georges Avenel has recently delivered himself of a screed on the
+"Mechanism of Modern Life," wherein are many pertinent, if sometimes
+trite, observations on the more or less automatic processes by which we
+are lodged, fed, and clothed to-day.
+
+He gives rather a quaint, but unquestionably true, reason for the alleged
+falling-off in the cookery of French--of course he means
+Parisian--restaurants. It is, he says, that modern patrons will no longer
+pay the prices, or, rather, will not spend the money that they once did.
+In the first half of the last century--the time of Dumas' activities and
+achievements--he tells us that many Parisian lovers of good fare were
+accustomed to "eat a napoleon" daily for their dinner. Nowadays, the same
+persons dine sufficiently at their club for eight and a half francs.
+Perhaps the abatement of modern appetites has something to say to this, as
+many folk seldom take more than thirty-five or forty minutes over their
+evening meal. How would this compare with the Gargantuan feasts described
+by Brillat-Savarin and others, or the gastronomic exploits of those who
+ate two turkeys at a sitting?
+
+Clearly, for comfort, and perhaps luxury, the Parisian hotels and
+restaurants of a former day compare agreeably with those of our own time;
+not so much, perhaps, with regard to time and labour-saving machinery,
+which is the equipment of the modern _batterie de cuisine_, but with the
+results achieved by more simple, if more laborious, means, and the
+appointments and surroundings amid which they were put upon the board.
+"The proof of the pudding is in the eating" is still applicable, whether
+its components be beaten or kneaded by clockwork or the cook's boy.
+
+With the hotels himself, Avenel is less concerned, though he reminds us
+again that Madame de Sevigne had often to lie upon straw in the inns she
+met with in travelling, and looked upon a bed in a hotel, which would
+allow one to undress, as a luxury. We also learn that the travellers of
+those days had to carry their own knives, the innkeeper thinking that he
+did enough in providing spoons and forks. Nor were hotels particularly
+cheap, a small suite of rooms in a hotel of the Rue Richelieu costing 480
+francs a week. It was Napoleon III. who, by his creation of the Hotel de
+Louvre,--not the present establishment of the same name, but a much
+larger structure,--first set the fashion of monster hostelries. But what
+was this compared with the Elysees Palace, which M. d'Avenel chooses as
+his type of modern luxury, with its forty-three cooks, divided into seven
+brigades, each commanded by an officer drawing 3,750 francs a year, and
+its thirty-five hundred pairs of sheets and fifty thousand towels, valued
+together at little short of 250,000 francs? Yet, as we well know, even
+these totals pale before some of the hotels of America, in which M.
+d'Avenel sees the _ne plus ultra_ of organization and saving of labour by
+the ingenious use of machinery, and incidentally a great deal of the
+sentiment of good cheer, which was as much an ingredient of former
+hospitality as was the salt and pepper of a repast.
+
+It is pleasant to read of Alexandre Dumas' culinary skill, though the
+repetition of the fact has appeared in the works of well-nigh every writer
+who has written of the Paris of the fifties and sixties. The dinners at
+his apartments in the Boulevard Malesherbes were worthy of Soyer or even
+of Brillat-Savarin himself in his best days. In his last "Causeries
+Culinaires," the author of "Monte Cristo" tells us that the Bourbon kings
+were specially fond of soup. "The family," he writes, "from Louis XIV. to
+the last of their race who reigned in France, have been great eaters. The
+Grand Monarque commenced his dinner by two and sometimes three different
+kinds of soup; Louis-Philippe by four plates of various species of this
+comestible; in the fifth plate his Majesty usually mixed portions of the
+four varieties he had eaten, and appeared to enjoy this singular culinary
+combination."
+
+Dumas' reputation as an epicure must have been formed early; he describes
+in his "Memoires" how, on a certain occasion, when he had first become
+installed in Paris, he met a gentleman, Charles Nodier, in the stalls of
+the Porte St. Martin, who was reading a well-worn Elzevir entitled "La
+Pastissier Francaise." He says, "I address him.... 'Pardon my
+impertinence, but are you very fond of eggs?' 'Why so?' 'That book you are
+reading, does it not give recipes for cooking eggs in sixty different
+ways?' 'It does.' 'If I could but procure a copy.' 'But this is an
+Elzevir,' says my neighbour."
+
+The Parisian is without a rival as an epicure and a _gastronome_, and he
+associates no stigma with the epithet. In Anglo-Saxon lands the reverse is
+the case, though why it is hard to see.
+
+"Frog-legs" came to be a tidbit in the _tables d'hote_ of New York and
+London many years ago, but sympathy has been withheld from the luscious
+_escargot_. There be those fearless individuals who by reason of the
+_entente cordiale_ have tasted of him and found him good, but learning
+that in the cookshops of Paris they have at last learned to fabricate them
+to equal the native grown article of Bourgogne, have tabooed them once for
+all, and threaten to withdraw their liking for that other succulent
+dainty, the frog.
+
+At any rate, the schoolboy idea that the Parisian's staple fare is snails
+and frogs is quite exploded, and small wonder it is that Anglo-Saxon
+palates never became wholly inured to them. But what about England's
+peculiar dishes? Marrow-bones and stewed eels, for instance?
+
+       *       *       *       *       *
+
+Dumas' familiarity with the good things of the table is nowhere more
+strongly advanced than in the opening chapter of "The Queen's Necklace,"
+wherein the author recounts the incident of "the nobleman and his _maitre
+d'hotel_."
+
+The scene was laid in 1784, and runs as follows:
+
+     "The marshal turned toward his _maitre d'hotel_, and said, 'Sir, I
+     suppose you have prepared me a good dinner?'
+
+     "'Certainly, your Grace.'
+
+     "'You have the list of my guests?'
+
+     "'I remember them perfectly.'
+
+     "'There are two sorts of dinners, sir,' said the marshal.
+
+     "'True, your Grace, but--'
+
+     "'In the first place, at what time do we dine?'
+
+     "'Your Grace, the citizens dine at two, the bar at three, the
+     nobility at four--'
+
+     "'And I, sir?'
+
+     "'Your Grace will dine to-day at five.'
+
+     "'Oh, at five!'
+
+     "'Yes, your Grace, like the king--'
+
+     "'And why like the king?'
+
+     "'Because, on the list of your guests is the name of a king.'
+
+     "'Not so, sir, you mistake; all my guests to-day are simple
+     noblemen.'
+
+     "'Your Grace is surely jesting; the Count Haga, who is among the
+     guests--'
+
+     "'Well, sir!'
+
+     "'The Count Haga is a king.' (The Count Haga was the well-known name
+     of the King of Sweden, assumed by him when travelling in France.)
+
+     "'In any event, your Grace _cannot_ dine before five o'clock.'
+
+     "'In heaven's name, do not be obstinate, but let us have dinner at
+     four.'
+
+     "'But at four o'clock, your Grace, what I am expecting will not have
+     arrived. Your Grace, I wait for a bottle of wine.'
+
+     "'A bottle of wine! Explain yourself, sir; the thing begins to
+     interest me.'
+
+     "'Listen, then, your Grace; his Majesty, the King of Sweden--I beg
+     pardon, the Count Haga, I should have said--drinks nothing but
+     Tokay.'
+
+     "'Well, am I so poor as to have no Tokay in my cellar? If so, I must
+     dismiss my butler.'
+
+     "'Not so, your Grace; on the contrary, you have about sixty bottles.'
+
+     "'Well, do you think Count Haga will drink sixty bottles with his
+     dinner?'
+
+     "'No, your Grace; but when Count Haga first visited France when he
+     was only prince royal, he dined with the late king, who had received
+     twelve bottles of Tokay from the Emperor of Austria. You are aware
+     that the Tokay of the finest vintages is reserved exclusively for the
+     cellar of the emperor, and that kings themselves can only drink it
+     when he pleases to send it to them.'
+
+     "'I know it.'
+
+     "'Then, your Grace, of these twelve bottles of which the prince
+     royal drank, only two remain. One is in the cellar of his Majesty
+     Louis XVI.--'
+
+     "'And the other?'
+
+     "'Ah, your Grace!' said the _maitre d'hotel_, with a triumphant
+     smile, for he felt that, after the long battle he had been fighting,
+     the moment of victory was at hand, 'the other one was stolen.'
+
+     "'By whom, then?'
+
+     "'By one of my friends, the late king's butler, who was under great
+     obligations to me.'
+
+     "'Oh! and so he gave it to you.'
+
+     "'Certainly, your Grace,' said the _maitre d'hotel_, with pride.
+
+     "'And what did you do with it?'
+
+     "'I placed it carefully in my master's cellar.'
+
+     "'Your master? And who was your master at that time?'
+
+     "'His Eminence the Cardinal de Rohan.'
+
+     "'Ah, _mon Dieu!_ at Strasbourg?'
+
+     "'At Saverne.'
+
+     "'And you have sent to seek this bottle for me!' cried the old
+     marshal.
+
+     "'For you, your Grace,' replied the _maitre d'hotel_, in a tone which
+     plainly said, 'ungrateful as you are.'
+
+     "The Duke de Richelieu seized the hand of the old servant, and
+     cried, 'I beg pardon; you are the king of _maitres d'hotel_.'"
+
+The French noblesse of the eighteenth century may have had retainers of
+the perspicacity and freedom of manners of this servant of the Marechal de
+Richelieu, but it is hard to picture them in real life to-day. At any
+rate, it bespeaks Dumas' fondness of good eating and good drinking that he
+makes so frequent use of references thereto, not only in this novel of a
+later day, but throughout the mediaeval romances as well.
+
+Dumas' knowledge of gastronomy again finds its vent in "The Count of Monte
+Cristo," when the unscrupulous Danglars is held in a dungeon pending his
+giving up the five millions of francs which he had fraudulently obtained.
+
+It is not a very high-class repast that is discussed, but it shows at
+least Dumas' familiarity with the food of man.
+
+     "At twelve the guard before Danglars' cell was replaced by another
+     functionary, and, wishing to catch sight of his new guardian,
+     Danglars approached the door again. He was an athletic, gigantic
+     bandit, with large eyes, thick lips, and a flat nose; his red hair
+     fell in dishevelled masses like snakes around his shoulders. 'Ah!
+     ah!' cried Danglars, 'this fellow is more like an ogre than anything
+     else; however, I am rather too old and tough to be very good eating!'
+     We see that Danglars was quite collected enough to jest; at the same
+     time, as though to disprove the ogreish propensities, the man took
+     some black bread, cheese, and onions from his wallet, which he began
+     devouring voraciously. 'May I be hanged,' said Danglars, glancing at
+     the bandit's dinner through the crevices of the door, 'may I be
+     hanged if I can understand how people can eat such filth!' and he
+     withdrew to seat himself upon his goatskin, which recalled to him the
+     smell of the brandy....
+
+     "Four hours passed by, the giant was replaced by another bandit.
+     Danglars, who really began to experience sundry gnawings at the
+     stomach, rose softly, again applied his eye to the crack of the door,
+     and recognized the intelligent countenance of his guide. It was,
+     indeed, Peppino, who was preparing to mount guard as comfortably as
+     possible by seating himself opposite to the door, and placing between
+     his legs an earthen pan, containing chick-pease stewed with bacon.
+     Near the pan he also placed a pretty little basket of grapes and a
+     bottle of Vin d'Orvieto. Peppino was decidedly an epicure. While
+     witnessing these preparations, Danglars' mouth watered.... 'I can
+     almost imagine,' said he, 'that I were at the Cafe de Paris.'"
+
+Dumas, like every strong personality, had his friends and his enemies. It
+is doubtful which class was in the ascendency as to numbers. When asked,
+on one occasion, when he had been dining at the Cafe de Paris, if he were
+an archaeologist,--he had been admiring a cameo portrait of Julius
+Caesar,--he replied, "No, I am absolutely nothing." His partisans were
+many, and they were as devoted as his enemies were jealous and
+uncharitable. Continuing, he said, "I admire this portrait in the capacity
+of Caesar's historian." "Indeed," said his interlocutor, "it has never been
+mentioned in the world of savants." "Well," said Dumas, "the world of
+savants never mentions me."
+
+This may be conceit or modesty, accordingly as one takes one view or
+another. Dumas, like most people, was not averse to admiration. Far from
+it. He thrived exceedingly on it. But he was, as he said, very much alone,
+and quite felt a nobody at times. Of his gastronomic and epicurean
+abilities he was vainly proud.
+
+The story is told of the sole possession by Dumas of a certain recipe for
+stewed carp. Veron, the director of the opera, had instructed his own
+cook to serve the celebrated dish; she, unable to concoct it
+satisfactorily, announced her intention of going direct to the novelist to
+get it from his own lips. Sophie must have been a most ingenious and
+well-informed person, for she approached Dumas in all hostility and
+candour. She plunged direct into the subject, presuming that he had
+acquired the knowledge of this special tidbit from some outside source.
+
+Dumas was evidently greatly flattered, and gave her every possible
+information, but the experiment was not a success, and the fair
+_cordon-bleu_ began to throw out the suspicion that Dumas had acquired his
+culinary accomplishments from some other source than that he had generally
+admitted. It was at this time that Dumas was at the crux of his affairs
+with his collaborators.
+
+Accordingly Sophie made her pronouncement that it was with Dumas' cooking
+as it was with his romances, and that he was "_un grand diable de
+vaniteux_."
+
+At his home in the Rue Chaussee d'Antin Dumas served many an epicurean
+feast to his intimates; preparing, it is said, everything with his own
+hands, even to the stripping of the cabbage-leaves for the _soupe aux
+choux_, "sleeves rolled up, and a large apron around his waist."
+
+A favourite menu was _soupe aux choux_, the now famous carp, a _ragout de
+mouton, a l'Hongroise_; _roti de faisans_, and a _salade
+Japonaise_--whatever that may have been; the ices and _gateaux_ being sent
+in from a _patissier's_.
+
+       *       *       *       *       *
+
+The customs of the theatre in Paris are, and always have been, peculiar.
+Dumas himself tells how, upon one occasion, just after he had come
+permanently to live there, he had placed himself beside an immense _queue_
+of people awaiting admission to the Porte St. Martin.
+
+He was not aware of the procedure of lining up before the entrance-doors,
+and when one well up in the line offered to sell him his place for _twenty
+sous_--held since midday--Dumas willingly paid it, and, not knowing that
+it did not include admission to the performance, was exceedingly
+distraught when the time came to actually pay for places. This may seem a
+simple matter in a later day, and to us who have become familiar with
+similar conditions in Paris and elsewhere; but it serves to show the
+guilelessness of Dumas, and his little regard for business procedure of
+any sort.
+
+The incident is continued in his own words, to the effect that he "finally
+purchased a bit of pasteboard that once had been white, which I presented
+to the check-taker and received in return another of red.... My appearance
+in the amphitheatre of the house must have been astonishing. I was the
+very latest Villers-Cotterets fashion, but a revolution had taken place in
+Paris which had not yet reached my native place. My hair was long, and,
+being frizzled, it formed a gigantic aureole around my head. I was
+received with roars of laughter.... I dealt the foremost scoffer a
+vigorous slap in the face, and said, at the same time, 'My name is
+Alexandre Dumas. For to-morrow, I am staying at the Hotel des
+Vieux-Augustins, and after that at No. 1 Place des Italiens.'"
+
+By some incomprehensible means Dumas was hustled out of the theatre and on
+to the sidewalk--for disturbing the performance, though the performance
+had not yet begun. He tried his luck again, however, and this time bought
+a place at two francs fifty centimes.
+
+Every visitor to Paris has recognized the preeminence of the "Opera" as a
+social institution. The National Opera, or the Theatre Imperial de
+l'Opera, as it was originally known, in the Rue Lepelletier, just off the
+Boulevard des Italiens, was the progenitor of the splendid establishment
+which now terminates the westerly end of the Avenue de l'Opera. The more
+ancient "Grand Opera" was uncontestably the most splendid, the most
+pompous, and the most influential of its contemporary institutions
+throughout Europe.
+
+The origin of the "Grand Opera" was as remote as the times of Anne of
+Austria, who, it will be recalled, had a most passionate regard for
+_musique_ and spectacle, and Mazarin caused to be brought from Italy
+musicians who represented before the queen "musical pieces" which proved
+highly successful.
+
+Later, in 1672, Louis XIV. accorded the privilege of the Opera to Lulli, a
+distinguished musician of Florence, and the theatre of the Palais Royal
+was ceded to the uses of Academie de Musique.
+
+After the fire of 1763, the Opera was transferred to the Tuileries, but
+removed again, because of another fire, to the Porte St. Martin, where it
+remained until 1794, when it was transferred to a new house which had been
+constructed for it in the Rue Richelieu.
+
+Again in 1820 it was removed to a new establishment, which had been
+erected on the site of the former Hotel de Choiseul.
+
+This house had accommodations for but two thousand spectators, and, in
+spite of its sumptuousness and rank, was distinctly inferior in point of
+size to many opera-houses and theatres elsewhere.
+
+Up to this time the management had been governed after the manner of the
+old regime, "by three gentlemen of the king's own establishment, in
+concurrence with the services of a working director," and the royal privy
+purse was virtually responsible for the expenses. Louis-Philippe astutely
+shifted the responsibility to the public exchequer.
+
+In 1831, Dr. Louis Veron, the founder of the _Revue de Paris_,--since
+supplanted by the _Revue des Deux Mondes_,--became the manager and
+director. Doctor Veron has been called as much the quintessence of the
+life of Paris of the first half of the nineteenth century as was Napoleon
+I. of the history of France.
+
+Albert Vandam, the author of "An Englishman in Paris," significantly
+enough links Veron's name in his recollections with that of Dumas, except
+that he places Dumas first.
+
+"Robert le Diable" and Taglioni made Veron's success and his fortune,
+though he himself was a master of publicity. From 1831 onward, during
+Veron's incumbency, the newspapers contained column after column of the
+"puff personal," not only with respect to Veron himself, but down through
+the galaxy of singers and dancers to the veriest stage-carpenter, scenic
+artist, and call-boy.
+
+The modern managers have advanced somewhat upon these premature efforts;
+but then the art was in its infancy, and, as Veron himself was a
+journalist and newspaper proprietor, he probably well understood the
+gentle art of exchanging favouring puffs of one commodity for those of
+another.
+
+These were the days of the first successes of Meyerbeer, Halevy, Auber,
+and Duprez; of Taglioni, who danced herself into a nebula of glory, and
+later into a shadow which inspired the spiteful critics into condemnation
+of her waning power.
+
+It has been said that Marie Taglioni was by no means a good-looking woman.
+Indeed, she must have been decidedly plain. Her manners, too, were
+apparently not affable, and "her reception of Frenchmen was freezing to a
+degree--when she thawed it was to Russians, Englishmen, or Viennese." "One
+of her shoulders was higher than the other, she limped slightly, and,
+moreover, waddled like a duck." Clearly a stage setting was necessary to
+show off her charms. She was what the French call "_une pimbeche_."
+
+The architectural effect produced by the exterior of this forerunner of
+the present opera was by no means one of monumental splendour. Its
+architect, Debret, was scathingly criticized for its anomalies. A
+newspaper anecdote of the time recounts the circumstance of a provincial
+who, upon asking his way thither, was met with the direction, "That
+way--the first large gateway on your right."
+
+Near by was the establishment of the famous Italian _restaurateur_, Paolo
+Broggi, the resort of many singers, and the Estaminet du Divan, a sort of
+humble counterpart of the Cafe Riche or the Cafe des Anglais, but which
+proclaimed a much more literary atmosphere than many of the bigger
+establishments on the boulevards. Vandam relates of this house of call
+that "it is a positive fact that the _garcon_ would ask, 'Does monsieur
+desire Sue's or Dumas' _feuilleton_ with his _cafe_?'"
+
+Of the Opera which was burned in 1781, Dumas, in "The Queen's Necklace,"
+has a chapter devoted to "Some Words about the Opera." It is an
+interesting, albeit a rather superfluous, interpolation in a romance of
+intrigue and adventure:
+
+     "The Opera, that temple of pleasure at Paris, was burned in the month
+     of June, 1781. Twenty persons had perished in the ruins; and, as it
+     was the second time within eighteen years that this had happened, it
+     created a prejudice against the place where it then stood, in the
+     Palais Royal, and the king had ordered its removal to a less central
+     spot. The place chosen was La Porte St. Martin.
+
+     "The king, vexed to see Paris deprived for so long of its Opera,
+     became as sorrowful as if the arrivals of grain had ceased, or bread
+     had risen to more than seven sous the quartern loaf. It was
+     melancholy to see the nobility, the army, and the citizens without
+     their after-dinner amusement; and to see the promenades thronged with
+     the unemployed divinities, from the chorus-singers to the prima
+     donnas.
+
+     "An architect was then introduced to the king, full of new plans, who
+     promised so perfect a ventilation, that even in case of fire no one
+     could be smothered. He would make eight doors for exit, besides five
+     large windows placed so low that any one could jump out of them. In
+     the place of the beautiful hall of Moreau he was to erect a building
+     with ninety-six feet of frontage toward the boulevard, ornamented
+     with eight caryatides on pillars forming three entrance-doors, a
+     bas-relief above the capitals, and a gallery with three windows. The
+     stage was to be thirty-six feet wide, the theatre seventy-two feet
+     deep and eighty across, from one wall to the other. He asked only
+     seventy-five days and nights before he opened it to the public.
+
+     "This appeared to all a mere gasconade, and was much laughed at. The
+     king, however, concluded the agreement with him. Lenoir set to work,
+     and kept his word. But the public feared that a building so quickly
+     erected could not be safe, and when it opened no one would go.
+
+     "Even the few courageous ones who did go to the first representation
+     of 'Adele de Ponthieu' made their wills first. The architect was in
+     despair. He came to the king to consult him as to what was to be
+     done.
+
+     "It was just after the birth of the dauphin; all Paris was full of
+     joy. The king advised him to announce a gratuitous performance in
+     honour of the event, and give a ball after. Doubtless plenty would
+     come, and if the theatre stood, its safety was established.
+
+     "'Thanks, Sire,' said the architect.
+
+     "'But reflect, first,' said the king, 'if there be a crowd, are you
+     sure of your building?'
+
+     "'Sire, I am sure, and shall go there myself.'
+
+     "'I will go to the second representation,' said the king.
+
+     "The architect followed this advice. They played 'Adele de Ponthieu'
+     to three thousand spectators, who afterward danced. After this there
+     could be no more fear."
+
+It was three years after that Madame and the cardinal went to the
+celebrated ball, the account of which follows in the subsequent chapter of
+the romance.
+
+Dumas as a dramatist was not so very different from Dumas the novelist.
+When he first came to Paris the French stage was by no means at a low and
+stagnant ebb--at least, it was not the thin, watery concoction that many
+English writers would have us believe; and, furthermore, the world's great
+dramatist--Shakespeare--had been and was still influencing and inspiring
+the French playwright and actor alike.
+
+It was the "Hamlet" of Ducis--a very French Hamlet, but still Hamlet--and
+the memory of an early interview with Talma that first set fire to the
+fuel of the stage-fever which afterward produced Dumas the dramatist.
+
+Dumas was not always truthful, or, at least, correct, in his facts, but he
+did not offend exceedingly, and he was plausible; as much so, at any rate,
+as Scott, who had erred to the extent of fifteen years in his account of
+the death of Amy Robsart.
+
+In 1824 was born Alexandre Dumas _fils_, and at this time the parent was
+collaborating with Soulie in an attempted, but unfinished, dramatization
+of Scott's "Old Mortality."
+
+By 1830, after he had left official work, Dumas had produced that drama of
+the Valois, "Henri III.," at the Theatre Francais, where more than a
+century before Voltaire had produced his first play, "Oedipe," and
+where the "Hernani" of Victor Hugo had just been produced.
+
+It was a splendid and gorgeous event, and the adventures of the Duchesse
+de Guise, St. Megrin, Henri III. and his satellites proved to the large
+and distinguished audience present no inconspicuous element in the success
+of the future king of romance. It was a veritable triumph, and for the
+time the author was more talked of and better known than was Hugo, who had
+already entered the arena, but whose assured fame scarcely dates from
+before "Hernani," whose first presentation--though it was afterward
+performed over three hundred times in the same theatre--was in February of
+the same year.
+
+Voltaire had been dead scarce a half-century, but already the dust lay
+thick on his dramatic works, and the world of Paris was looking eagerly
+forward to the achievements of the new school. One cannot perhaps claim
+for Dumas that he was in direct lineage of Shakespeare,--as was claimed
+for Hugo, and with some merit,--but he was undoubtedly one of the first of
+the race of the popular French playwrights whose fame is perpetuated
+to-day by Sardou. At any rate, it was a classic struggle which was
+inaugurated in France--by literature and the drama--in the early half of
+the nineteenth century, and one which was a frank rebellion against the
+rigid rules by which their arts had been restrained--especially dramatic
+art.
+
+
+[Illustration: D'ARTAGNAN
+
+From the Dumas Statue by Gustave Dore]
+
+
+With all due credit, then, to Hugo, it was Dumas who led the romanticists
+through the breach that was slowly opening; though at the same time one
+may properly enough recall the names of Alfred de Musset, Theophile
+Gautier, and Gerard de Nerval.
+
+Dumas' next play was in "classical form"--"Christine."
+
+Mere chance brought Dumas into an acquaintance with the history of
+Christine of Sweden, and, though the play was written and accepted before
+"Henri III. et Sa Cour," it was not until some time later that it was
+produced at the Odeon; the recollection of which also brings up the name
+of Mlle. Mars.
+
+       *       *       *       *       *
+
+The statue in Paris in the Place Malesherbes, erected to the memory of
+Dumas, has been highly commended in conception and execution. It was the
+work of Gustave Dore, and, truth to tell, it has some wonderfully
+effective sculptures in bronze. A group of three symbolical figures _en
+face_, and a lifelike and life-sized representation of the courageous
+D'Artagnan _d'arriere_. These details are charming when reproduced on
+paper by process of photography or the hand of an artist. Indeed, they are
+of much the same quality when viewed as details, but in the ensemble,
+combined with a cold, inartistic base or pedestal, which is crowned by a
+seated effigy of Dumas--also life-size--clad in the unlovely raiment of
+the latter nineteenth century, there is much to be desired.
+
+Statues, be they bronze or marble, are often artistically successful when
+their figures are covered with picturesque mediaeval garments, but they are
+invariably a failure, in an artistic sense, when clothed in latter-day
+garb. Doublet and hose, and sword and cloak lend themselves unmistakably
+to artistic expression. Trousers and top-hats do not. Just back of the
+Place Malesherbes is the Avenue de Villiers--a street of fine houses, many
+of them studio apartments, of Paris's most famous artists. Here at No. 94
+lived Alexandre Dumas during the later years of his life; so it is fitting
+that his monument should be placed in this vicinity. The house was
+afterward occupied by Dumas _fils_, and more lately by his widow, but now
+it has passed into other hands.
+
+Of interest to Americans is the fact which has been recorded by some one
+who was _au courant_ with Parisian affairs of the day, "that the United
+States Minister to France, Mr. John Bigelow, breakfasted with Dumas at St.
+Gratien, near Paris," when it came out that he (Dumas) had a notion to go
+out to America as a war correspondent for the French papers; the Civil War
+was not then over. Unhappily for all of us, he did not go, and so a truly
+great book was lost to the world.
+
+In this same connection it has been said that Dumas' "quadroon autographs"
+were sold in the United States, to provide additional funds for the widows
+and orphans of slain abolitionists. As it is apocryphally said that they
+sold for a matter of a hundred and twenty dollars each, the sum must have
+reached considerable proportions, if their number was great.
+
+
+
+
+CHAPTER VI.
+
+OLD PARIS
+
+
+The Paris of Dumas was Meryon's--though it is well on toward a
+half-century since either of them saw it. Hence it is no longer theirs;
+but the master romancer and the master etcher had much in common.
+
+They both drew with a fine, free hand, the one in words that burn
+themselves in the memory, and the other in lines which, once bitten on the
+copper plate, are come down to us in indelible fashion. The mention of
+Meryon and his art is no mere rambling of the pen. Like that of Dumas, his
+art depicted those bold, broad impressions which rebuilt "old Paris" in a
+manner which is only comparable to the background which Dumas gave to "Les
+Trois Mousquetaires."
+
+The iconoclastic Haussman caused much to disappear, and it is hard to
+trace the footsteps of many a character of history and romance, whose
+incomings and outgoings are otherwise very familiar to us.
+
+There are many distinct cities which go to make up Paris itself, each
+differing from the other, but Dumas and Meryon drew them each and all with
+unerring fidelity: Dumas the University Quarter and the faubourgs in "Les
+Trois Mousquetaires," and Meryon the Cite in "The Stryge."
+
+The sheer beauty and charm of old-world Paris was never more strongly
+suggested than in the work of these two masters, who have given a
+permanence to the abodes of history and romance which would otherwise have
+been wanting. It is a pleasurable occupation to hunt up the dwellings of
+those personages who may, or may not, have lived in the real flesh and
+blood. The mere fact that they lived in the pages of a Dumas--or for that
+matter of a Balzac or a Hugo--is excuse enough for most of us to seek to
+follow in their footsteps.
+
+In spite of the splendour of the present and the past, Paris is by no
+means too great to prevent one's tracing its old outlines, streets, and
+landmarks, even though they have disappeared to-day, and the site of the
+famous Hotel Chevreuse or the Carmelite establishment in the Rue
+Vaugirard--against whose wall D'Artagnan and his fellows put up that
+gallant fight against the cardinal's guard--are in the same geographical
+positions that they always were, if their immediate surroundings have
+changed, as they assuredly have.
+
+Indeed, the sturdy wall which kept the Carmelite friars from contact with
+the outer world has become a mere hoarding for gaudily coloured posters,
+and the magnificent Hotel Chevreuse on the Boulevard St. Germain has been
+incorporated into a modern apartment-house, and its garden cut through by
+the Boulevard Raspail.
+
+The destruction of "Old Paris"--the gabled, half-timbered, mediaeval
+city--is not only an artistic regret, but a personal one to all who know
+intimately the city's history and romance. It was inevitable, of course,
+but it is deplorable.
+
+Meryon, too, like Dumas, etched details with a certain regard for effect
+rather than a colder preciseness, which could hardly mean so much as an
+impression of a mood. They both sought the picturesque element, and
+naturally imparted to everything modern with which they came into contact
+the same charm of reality which characterized the tangible results of
+their labours.
+
+Nothing was left to chance, though much may--we have reason to think--have
+been spontaneous. The witchery of a picturesque impression is ever great,
+but the frequency of its occurrence is growing less and less.
+
+To-day we have few romancers, few painters or etchers of fleeting moods or
+impressions, and are fast becoming schooled in the tenets of Zola and
+Baudry, to the glorification of realism, but to the death and deep burial
+of the far more healthy romanticism of the masters of a few generations
+since.
+
+       *       *       *       *       *
+
+To the Roman occupation of Paris succeeded that of the Franks, and Clovis,
+son of Childerie and grandson of Merovee, after his conversion to
+Christianity at Reims, established the seat of his empire at Paris.
+
+Childebert, the descendant of Clovis,--who had taken unto himself the
+title King of Paris,--in 524 laid the foundation of the first Eglise de
+Notre Dame.
+
+The kings of the second race lived in Paris but little, and under the
+feeble successors of Charlemagne the city became the particular domain of
+the hereditary counts. In the year 845 the Normans came up the river by
+boat and razed all of that part known even to-day as La Cite, hence the
+extreme improbability of there being existing remains of an earlier date
+than this, which are to-day recognizable. After successive disasters and
+invasions, it became necessary that new _quartiers_ and new streets should
+be formed and populated, and under the reign of Louis VII. the walls were
+extended to include, on the right bank, Le Bourg l'Abbe, Le Bourg
+Thibourg, Le Beau-Bourg, Le Bourg St. Martin,--regions which have since
+been occupied by the Rues St. Martin, Beaubourg, Bourtebourg, and Bourg
+l'Abbe,--and, on the right bank, St. Germain des Pres, St. Victor, and St.
+Michel.
+
+Since this time Paris has been divided into three distinct parts: La
+Ville, to the north of the Seine, La Cite, in the centre, and
+L'Universite, in the south.
+
+The second _enceinte_ did not long suffice to enclose the habitations of
+the people, and in the year 1190 Philippe-Auguste constructed the third
+wall, which was strengthened by five hundred towers and surrounded by a
+deep _fosse_, perpetuated to-day as the Rempart des Fosses. At this time
+the first attempts were made at paving the city streets, principally at
+the instigation of the wealthy Gerard de Poissy, whose name has since been
+given to an imposing street on the south bank.
+
+Again, in 1356, the famous Etienne Marcel commenced the work of the fourth
+_enceinte_. On the south, the walls were not greatly extended, but on the
+north they underwent a considerable aggrandizement. Fortified gateways
+were erected at the extremity of the Rue de St. Antoine, and others were
+known variously as the Porte du Temple and Porte St. Denis. Other chief
+features of the time--landmarks one may call them--were the Porte St.
+Honore, which was connected with the river-bank by a prolonged wall, the
+Tour du Bois, and a new fortification--as a guardian against internal
+warfare, it would seem--at the upper end of the Ile de la Cite.
+
+Toward the end of the reign of Louis XI. the city had become repeopled,
+after many preceding years of flood, ravage, and famine, and contained, it
+is said, nearly three hundred thousand souls.
+
+From this reign, too, dates the establishment of the first printing-shop
+in Paris, the letter-post, and the _poste-chaise_. Charles VII., the son
+of Louis XI., united with the Bibliotheque Royal those of the Kings of
+Naples.
+
+Louis XII., who followed, did little to beautify the city, but his
+parental care for the inhabitants reduced the income of the tax-gatherer
+and endeared his name to all as the _Pere du Peuple_.
+
+Francois I.--whose glorious name as the instigator of much that has since
+become national in French art--considerably enlarged the fortifications
+on the west, and executed the most momentous embellishments which had yet
+taken place in the city. In public edifices he employed, or caused his
+architects to employ, the Greek orders, and the paintings by Italian hands
+and the sculptures of Goujon were the highest expressions of the art of
+the Renaissance, which had grown so abundantly from the seed sown by
+Charles VIII. upon his return from his wanderings in Italy.
+
+It may be questioned if the art of the Renaissance is really beautiful; it
+is, however, undeniably effective in its luxuriant, if often ill-assorted,
+details; so why revile it here? It was the prime cause, more than all
+others put together, of the real adornment of Paris; and, in truth, was
+far more successful in the application of its principles here than
+elsewhere.
+
+During the reign of Francois I. were built, or rebuilt, the great Eglises
+de St. Gervais, St. Germain l'Auxerrois, and St. Merry, as well as the
+Hotel de Ville. The Louvre was reconstructed on a new plan, and the
+Faubourg St. Germain was laid out anew.
+
+Under Henri II. the work on the Louvre was completed, and the Hopital des
+Petites Maisons constructed. It was Henri II., too, who first ordained
+that the effigies of the kings should be placed upon all coins.
+
+The principal edifices built under Charles IX. were the Palais des
+Tuileries, Hotel de Soissons, the Jesuit College, and the Hopital du St.
+Jacques du Haut Pas.
+
+Henri III. erected the church of the Jesuits in the Rue St. Antoine, the
+Eglise de St. Paul et St. Louis, the Monastere des Feuillants, the Hotel
+de Bourgogne, and the Theatre Italien.
+
+Under Henri IV. was achieved the Pont Neuf, whose centre piers just
+impinge upon the lower end of the Ile de la Cite; the Quais de l'Arsenal,
+de l'Horloge, des Orphelins, de l'Ecole, de la Megisserie, de Conti, and
+des Augustins; la Place Dauphine, and the Rue Dauphine. The Place Royale
+came to replace--in the _Quartier du Marais_--the old Palais des
+Tournelles, the pleasure of so many kings, Francois I. in particular.
+
+Louis XIII., the feeble king who reigned without governing, saw many
+improvements, which, however, grew up in spite of the monarch rather than
+because of him.
+
+There was a general furbishing up of the streets and quais. Marie de
+Medicis built the Palais du Luxembourg and planted the Cours la Reine;
+many new bridges were constructed and new monuments set up, among others
+the Palais Royal, at this time called the Palais Cardinal; the Eglise St.
+Roch; the Oratoire; le Val-de-Grace; les Madelonnettes; la Salpetriere;
+the Sorbonne, and the Jardin des Plantes. Many public places were also
+decorated with statues: the effigy of Henri IV. was placed on the Pont
+Neuf, and of Louis XII. in the Place Royale.
+
+By this time the population had overflowed the walls of Philippe-Auguste,
+already enlarged by Francois I., and Louis XIV. overturned their towers
+and ramparts, and filled their _fosses_, believing that a strong community
+needed no such protections.
+
+These ancient fortifications were replaced by the boulevards which exist
+even unto to-day--not only in Paris, but in most French towns and
+cities--unequalled elsewhere in all the world.
+
+Up to the reign of Louis XIV. the population of Paris had, for the most
+part, been lodged in narrow, muddy streets, which had subjected them to
+many indescribable discomforts. Meanwhile, during the glorious reign of
+Louis XIV., Paris achieved great extension of area and splendour; many new
+streets were opened in the different _quartiers_, others were laid out
+anew or abolished altogether, more than thirty churches were
+built,--"all highly beautiful," say the guide-books. But they are not:
+Paris churches taken together are a decidedly mixed lot, some good in
+parts and yet execrable in other parts, and many even do not express any
+intimation whatever of good architectural forms.
+
+
+[Illustration: PONT NEUF.--PONT AU CHANGE]
+
+
+The Pont au Change was rebuilt, and yet four other bridges were made
+necessary to permit of better circulation between the various _faubourgs_
+and _quartiers_.
+
+To the credit of Louis XIV. must also be put down the Hotel des Invalides,
+the Observatoire, the magnificent colonnade of the Louvre, the Pont Royal,
+the College des Quatre Nations, the Bibliotheque Royale, numerous
+fountains and statues, the royal glass, porcelain, and tapestry
+manufactories, the Arc de Triomphe du Carrousel, and the Boulevards St.
+Denis and St. Martin.
+
+Saint Foix (in his "Essais sur Paris") has said that it was Louis XIV. who
+first gave to the reign of a French monarch the _eclat_ of grandeur and
+magnificence, not only for his court, but for his capital and his people.
+
+Under the succeeding reign of Louis XV. the beautifying of Paris took
+another flight. On the place which first bore the name of the monarch
+himself, but which is to-day known as the Place de la Concorde, were
+erected a pair of richly decorated monuments which quite rivalled in
+achievement the superb colonnaded Louvre of the previous reign, the Champs
+Elysees were replanted, the Ecole Militaire, the Ecole de Droit, and the
+Hotel de la Monnaie were erected, and still other additional boulevards
+and magnificent streets were planned out.
+
+A new church came into being with St. Genevieve, which afterward became
+the Pantheon.
+
+The reign following saw the final achievement of all these splendid
+undertakings; then came the Revolution, that political terror which would
+have upset all established institutions; and if Paris, the city of
+splendid houses, did not become merely a cemetery of tombs, it was not
+because maniacal fanaticism and fury were lacking.
+
+Religious, civic, and military establishments were razed, demolished, or
+burnt, regardless of their past associations or present artistic worth.
+
+In a way, however, these sacrilegious demolitions gave cause to much
+energetic rebuilding and laying out of the old city anew, in the years
+immediately succeeding the period of the Revolution, which as an
+historical event has no place in this book other than mere mention, as it
+may have been referred to by Dumas.
+
+It was Napoleon who undertook the rehabilitation of Paris, with an energy
+and foresight only equalled by his prowess as a master of men.
+
+He occupied himself above all with what the French themselves would call
+those _monuments et decorations utiles_, as might be expected of his
+abilities as an organizer. The canal from the river Ourcq through La
+Villette to the Seine was, at the Fosses de la Bastille, cleared and
+emptied of its long stagnant waters; _abattoirs_ were constructed in
+convenient places, in order to do away with the vast herds of cattle which
+for centuries had been paraded through the most luxurious of the city's
+streets; new markets were opened, and numerous fountains and
+watering-troughs were erected in various parts of the city; four new and
+ornate bridges were thrown across the Seine, the magnificent Rues
+Castiglione and de la Paix, extending from the Tuileries to the interior
+boulevards, were opened up; the Place Vendome was then endowed with its
+bronze column, which stands to-day; the splendid and utile Rue de Rivoli
+was made beside the garden of the Tuileries (it has since been prolonged
+to the Hotel de Ville).
+
+Napoleon also founded the Palais de la Bourse (1808), and caused to be
+erected a superb iron _grille_ which should separate the Place du
+Carrousel from the Tuileries.
+
+Under the Restoration little happened with regard to the beautifying and
+aggrandizing of the city, though certain improvements of a purely economic
+and social nature made their own way.
+
+The literature and art of Dumas and his compeers were making such sturdy
+progress as to give Paris that preeminence in these finer elements of
+life, which, before or since, has not been equalled elsewhere.
+
+Since the Revolution of 1830 have been completed the Arc de Triomphe de
+l'Etoile (commenced by Napoleon I.), the Eglise de la Madeleine, the fine
+hotel of the Quai d'Orsay, the Palais des Beaux Arts, the restoration of
+the Chambre des Deputes (the old Palais Bourbon), and the statues set up
+in the Place de la Concorde; though it is only since the ill-starred
+Franco-Prussian _affaire_ of 1871 that Strasbourg's doleful figure has
+been buried in jet and alabaster sentiments, so dear to the Frenchman of
+all ranks, as an outward expression of grief.
+
+At the commencement of the Second Empire the fortifications, as they then
+existed, possessed a circumference of something above thirty-three
+kilometres--approximately nineteen miles. The walls are astonishingly
+thick, and their _fosses_ wide and deep. The surrounding exterior forts
+"_de distance en distance_" are a unique feature of the general scheme of
+defence, and played, as it will be recalled, no unimportant part in the
+investiture of the city by the Germans in the seventies.
+
+A French writer of the early days of the last Empire says: "These new
+fortifications are in their ensemble a gigantic work." They are,
+indeed--though, in spite of their immensity, they do not impress the lay
+observer even as to impregnability as do the wonderful walls and ramparts
+of Carcassonne, or dead Aigues-Mortes in the Midi of France; those
+wonderful somnolent old cities of a glorious past, long since departed.
+
+The fortifications of Paris, however, are a wonderfully utile thing, and
+must ever have an unfathomable interest for all who have followed their
+evolution from the restricted battlements of the early Roman city.
+
+The Parisian has, perhaps, cause to regret that these turf-covered
+battlements somewhat restrict his "_promenades environnantes_," but what
+would you? Once outside, through any of the gateways, the Avenue de la
+Grande Armee,--which is the most splendid,--or the Porte du Canal de
+l'Ourcq,--which is the least luxurious, though by no means is it
+unpicturesque; indeed, it has more of that variable quality, perhaps, than
+any other,--one comes into the charm of the French countryside; that is,
+if he knows in which direction to turn. At any rate, he comes immediately
+into contact with a life which is quite different from any phase which is
+to be seen within the barrier.
+
+From the Revolution of 1848 to the first years of the Second Empire, which
+ought properly to be treated by itself,--and so shall be,--there came into
+being many and vast demolitions and improvements.
+
+Paris was a vast atelier of construction, where agile minds conceived, and
+the artisan and craftsman executed, monumental glories and improvements
+which can only be likened to the focusing of the image upon the ground
+glass.
+
+The prolongation of the Rue de Rivoli was put through; the Boulevards
+Sebastopol, Malesherbes,--where in the Place Malesherbes is that appealing
+monument to Dumas by Gustave Dore,--du Prince Eugene, St. Germain,
+Magenta, the Rue des Ecoles, and many others. All of which tended to
+change the very face and features of the Paris the world had known
+hitherto.
+
+The "Caserne Napoleon" had received its guests, and the Tour St. Jacques,
+from which point of vantage the "clerk of the weather" to-day
+prognosticates for Paris, had been restored. Magnificent establishments of
+all sorts and ranks had been built, the Palais de l'Industrie (since
+razed) had opened its doors to the work of all nations, in the exhibition
+of 1855.
+
+Of Paris, one may well concentrate one's estimate in five words: "Each
+epoch has been rich," also prolific, in benefits, intentions, and
+creations of all manner of estimable and admirable achievements.
+
+By favour of these efforts of all the reigns and governments which have
+gone before, the Paris of to-day in its architectural glories, its
+monuments in stone, and the very atmosphere of its streets, places, and
+boulevards, is assuredly the most marvellous of all the cities of Europe.
+
+       *       *       *       *       *
+
+It may not be an exceedingly pleasant subject, but there is, and always
+has been, a certain fascination about a visit to a cemetery which ranks,
+in the minds of many well-informed and refined persons, far above even the
+contemplation of great churches themselves.
+
+It may be a morbid taste, or it may not. Certainly there seems to be no
+reason why a considerable amount of really valuable facts might not be
+impressed upon the retina of a traveller who should do the round of
+_Campos Santos_, _Cimetieres_ and burial-grounds in various lands.
+
+In this respect, as in many others, Paris leads the way for sheer interest
+in its tombs and sepulchres, at Montmartre and Pere la Chaise.
+
+In no other burial-ground in the world--unless it be Mount Auburn, near
+Boston, where, if the world-wide name and fame of those there buried are
+not so great as those at Paris, their names are at least as much household
+words to English-speaking folk, as are those of the old-world
+resting-place to the French themselves--are to be found so many celebrated
+names.
+
+There are a quartette of these famous resting-places at Paris which, since
+the coming of the nineteenth century, have had an absorbing interest for
+the curiously inclined. Pere la Chaise, Montmartre, the royal sepulchres
+in the old abbey church of St. Denis, and the churchyard of St. Innocents.
+
+"Man," said Sir Thomas Brown, "is a noble animal, splendid in ashes, and
+pompous in the grave." Why this should be so, it is not the province of
+this book to explain, nor even to justify the gorgeous and ill-mannered
+monuments which are often erected over his bones.
+
+
+[Illustration: PORTRAIT OF HENRY IV.]
+
+
+The catacombs of Paris are purposely ignored here, as appealing to a
+special variety of morbidity which is as unpleasant to deal with and to
+contemplate as are snakes preserved in spirit, and as would be--were we
+allowed to see them--the sacred human _reliques_ which are preserved, even
+to-day, at various pilgrims' shrines throughout the Christian world. That
+vast royal sepulchre of the abbey church of St. Denis, which had been so
+outrageously despoiled by the decree of the Convention in 1793, was in a
+measure set to rights by Louis XVIII., when he caused to be returned from
+the Petits Augustins, now the Palais des Beaux Arts, and elsewhere, such
+of the monuments as had not been actually destroyed. The actual spoliation
+of these shrines belongs to an earlier day than that of which this book
+deals.
+
+The history of it forms as lurid a chapter as any known to the records of
+riot and sacrilege in France; and the more the pity that the motion of
+Barrere ("_La main puissante de la Republique doit effacer inpitoyablement
+ces epitaphes_") to destroy these royal tombs should have had official
+endorsement.
+
+The details of these barbarous exhumations were curious, but not edifying;
+the corpse of Turenne was exhibited around the city; Henri IV.--"his
+features still being perfect"--was kicked and bunted about like a
+football; Louis XIV. was found in a perfect preservation, but entirely
+black; Louis VIII. had been sewed up in a leather sack; and Francois I.
+and his family "had become much decayed;" so, too, with many of the later
+Bourbons.
+
+In general these bodies were deposited in a common pit, which had been dug
+near the north entrance to the abbey, and thus, for the first time in the
+many centuries covered by the period of their respected demises, their
+dust was to mingle in a common blend, and all factions were to become one.
+
+Viollet-le-Duc, at the instruction of Napoleon III., set up again,
+following somewhat an approximation of the original plan, the various
+monuments which had been so thoroughly scattered, and which, since their
+return to the old abbey, had been herded together without a pretence at
+order in the crypt.
+
+Paris had for centuries been wretchedly supplied with _cimetieres_. For
+long one only had existed, that of the churchyard of St. Innocents',
+originally a piece of the royal domain lying without the walls, and given
+by one of the French kings as a burial-place for the citizens, when
+interments within the city were forbidden.
+
+It has been calculated that from the time of Philippe-Auguste over a
+million bodies had been interred in these _fosses communes_.
+
+In 1785 the Council of State decreed that the cemetery should be cleared
+of its dead and converted into a market-place. Cleared it was not, but it
+has since become a market-place, and the waters of the Fontaine des
+Innocents filter briskly through the dust of the dead of ages.
+
+Sometime in the early part of the nineteenth century the funeral
+undertakings of Paris were conducted on a sliding scale of prices, ranging
+from four thousand francs in the first class, to as low as sixteen francs
+for the very poor; six classes in all.
+
+This law-ordered _tarif_ would seem to have been a good thing for
+posterity to have perpetuated.
+
+The artisan or craftsman who fashions the funeral monuments of Paris has a
+peculiar flight of fancy all his own; though, be it said, throughout the
+known world, funeral urns and monuments have seldom or never been
+beautiful, graceful, or even austere or dignified: they have, in fact,
+mostly been shocking travesties of the ideals and thoughts they should
+have represented.
+
+It is remarkable that the French architect and builder, who knows so well
+how to design and construct the habitation of living man, should express
+himself so badly in his bizarre funeral monuments and the tawdry tinsel
+wreaths and flowers of their decorations.
+
+An English visitor to Paris in the thirties deplored the fact that her
+cemeteries should be made into mere show-places, and perhaps rightly
+enough. At that time they served as a fashionable and polite avenue for
+promenades, and there was (perhaps even is to-day) a guide-book published
+of them, and, since grief is paradoxically and proverbially dry, there was
+always a battery of taverns and drinking-places flanking their entrances.
+
+It was observed by a writer in a Parisian journal of that day that "in the
+Cimetiere du Montmartre--which was the deposit for the gay part of the
+city--nine tombs out of ten were to the memory of persons cut off in their
+youth; but that in Pere la Chaise--which served principally for the sober
+citizens of Paris--nine out of ten recorded the ages of persons who had
+attained a good old age."
+
+
+
+
+CHAPTER VII.
+
+WAYS AND MEANS OF COMMUNICATION
+
+
+The means of communication in and about Paris in former days was but a
+travesty on the methods of the "Metropolitain," which in our time
+literally whisks one like the wings of the morning, from the Arc de
+Triomphe to the Bois de Vincennes, and from the Place de la Nation to the
+Trocadero.
+
+In 1850 there were officially enumerated over twenty-eight hundred
+boulevards, avenues, _rues_, and passages, the most lively being St.
+Honore, Richelieu, Vivienne, Castiglione, de l'Universite,--Dumas lived
+here at No. 25, in a house formerly occupied by Chateaubriand, now the
+Magazin St. Thomas,--de la Chaussee d'Antin, de la Paix, de Grenelle, de
+Bac, St. Denis, St. Martin, St. Antoine, and, above all, the Rue de
+Rivoli,--with a length of nearly three miles, distinguished at its
+westerly end by its great covered gallery, where the dwellings above are
+carried on a series of 287 arcades, flanked by _boutiques_, not very
+sumptuous to-day, to be sure, but even now a promenade of great
+popularity. At No. 22 Rue de Rivoli, near the Rue St. Roch, Dumas himself
+lived from 1838 to 1843.
+
+There were in those days more than a score of passages, being for the most
+part a series of fine galleries, in some instances taking the form of a
+rotunda, glass-covered, and surrounded by shops with _appartements_ above.
+The most notable were those known as the Panoramas Jouffroy, Vivienne,
+Colbert, de l'Opera, Delorme, du Saumon, etc.
+
+There were more than a hundred squares, or _places_--most of which remain
+to-day. The most famous on the right bank of the Seine are de la Concorde,
+Vendome, du Carrousel, du Palais Royal, des Victoires, du Chatelet, de
+l'Hotel de Ville, Royale, des Vosges, and de la Bastille; on the left
+bank, du Pantheon, de St. Sulpice, du Palais Bourbon. Most of these
+radiating centres of life are found in Dumas' pages, the most frequent
+mention being in the D'Artagnan and Valois romances.
+
+Among the most beautiful and the most frequented thoroughfares were--and
+are--the tree-bordered quais, and, of course, the boulevards.
+
+The interior boulevards were laid out at the end of the seventeenth
+century on the ancient ramparts of the city, and extended from the
+Madeleine to La Bastille, a distance of perhaps three miles. They are
+mostly of a width of thirty-two metres (105 feet).
+
+This was the boulevard of the time _par excellence_, and its tree-bordered
+_allees_--sidewalks and roadways--bore, throughout its comparatively short
+length, eleven different names, often changing meanwhile as it progressed
+its physiognomy as well.
+
+On the left bank, the interior boulevard was extended from the Jardin des
+Plantes to the Hotel des Invalides; while the "_boulevards exterieurs_"
+formed a second belt of tree-shaded thoroughfares of great extent.
+
+Yet other boulevards of ranking greatness cut the _rues_ and avenues
+tangently, now from one bank and then from the other; the most splendid of
+all being the Avenue de l'Opera, which, however, did not come into being
+until well after the middle of the century. Among these are best recalled
+Sebastopol, St. Germain, St. Martin, Magenta, Malesherbes, and others. The
+Place Malesherbes, which intersects the avenue, now contains the
+celebrated Dumas memorial by Dore, and the neighbouring thoroughfare was
+the residence of Dumas from 1866 to 1870.
+
+Yet another class of thoroughfares, while conceived previous to the
+chronological limits which the title puts upon this book, were the vast
+and splendid promenades and rendezvous, with their trees, flowers, and
+fountains; such as the gardens of the Tuileries and the Luxembourg, the
+Champs Elysees, the Esplanade des Invalides, and the Bois de Boulogne and
+de Vincennes.
+
+Dibdin tells of his _entree_ into Paris in the early days of the
+nineteenth century, having journeyed by "_malle-poste_" from Havre, in the
+pages of his memorable bibliographical tour.
+
+His observations somewhat antedate the Paris of Dumas and his fellows, but
+changes came but slowly, and therein may be found a wealth of
+archaeological and topographical information concerning the French
+metropolis; though he does compare, detrimentally, the panorama of Paris
+which unrolls from the heights of Passy, to that of London from Highgate
+Woods.
+
+On the contrary, his impressions change after passing the barriers.
+"Nothing in London," says he, "can enter into comparison with the imposing
+spectacle which is presented by the magnificent Champs Elysees, with the
+Chateau of the Tuileries _en face_, and to the right the superb dome of
+the Invalides glistening in the rays of the setting sun."
+
+Paris had at this time 2,948 "_voitures de louage_," which could be hired
+for any journey to be made within reasonable distance; and eighty-three
+which were run only on predetermined routes, as were the later omnibuses
+and tram-cars. These 2,948 carriages were further classified as follows;
+900 _fiacres_; 765 _cabriolets_, circulating in the twelve interior
+_arrondissements_; 406 _cabriolets_ for the exterior; 489 _carrosses de
+remise_ (livery-coaches), and 388 _cabriolets de remise_.
+
+The _prefet de police_, Count Angles, had received from one Godot, an
+_entrepreneur_,--a sort of early edition of what we know to-day as a
+company promoter,--a proposition to establish a line of omnibuses along
+the quais and boulevards. Authorization for the scheme was withheld for
+the somewhat doubtful reason that "the constant stoppage of the vehicles
+to set down and take up passengers would greatly embarrass other traffic;"
+and so a new idea was still-born into the world, to come to life only in
+1828, when another received the much coveted authority to make the
+experiment.
+
+Already such had been established in Bordeaux and Nantes, by an individual
+by the name of Baudry, and he it was who obtained the first concession in
+Paris.
+
+The first line inaugurated was divided into two sections: Rue de
+Lancry--Madeleine, and Rue de Lancry--Bastille.
+
+It is recorded that the young--but famous--Duchesse de Berry was the first
+to take passage in these "intramural _diligences_," which she called "_le
+carrosse des malheureux_;" perhaps with some truth, if something of
+snobbishness.
+
+There seems to have been a considerable difficulty in attracting a
+_clientele_ to this new means of communication. The public hesitated,
+though the prices of the places were decided in their favour, so much so
+that the enterprise came to an untimely end, or, at least, its founder
+did; for he committed suicide because of the non-instantaneous success of
+the scheme.
+
+The concession thereupon passed into other hands, and there was created a
+new type of vehicle of sixteen places, drawn by two horses, and priced at
+six sous the place. The new service met with immediate, if but partial,
+success, and with the establishment of new routes, each served by
+carriages of a distinctive colour, its permanence was assured.
+
+Then came the "_Dames Blanches_,"--the name being inspired by Boieldieu's
+opera,--which made the journey between the Porte St. Martin and the
+Madeleine in a quarter of an hour. They were painted a cream white, and
+drawn by a pair of white horses, coiffed with white plumes.
+
+After the establishment of the omnibus came other series of vehicles for
+public service: the "_Ecossaises_," with their gaudily variegated colours,
+the "_Carolines_," the "_Bearnaises_," and the "_Tricycles_," which ran on
+three wheels in order to escape the wheel-tax which obtained at the time.
+
+In spite of the rapid multiplication of omnibus lines under
+Louis-Philippe, their veritable success came only with the ingenious
+system of transfers, or "_la correspondance_;" a system and a convenience
+whereby one can travel throughout Paris for the price of one fare. From
+this reason alone, perhaps, the omnibus and tram system of Paris is
+unexcelled in all the world. This innovation dates, moreover, from 1836,
+and, accordingly, is no new thing, as many may suppose.
+
+Finally, more recently,--though it was during the Second Empire,--the
+different lines were fused under the title of the "Compagnie Generale des
+Omnibus."
+
+"_La malle-poste_" was an institution of the greatest importance to Paris,
+though of course no more identified with it than with the other cities of
+France between which it ran. It dated actually from the period of the
+Revolution, and grew, and was modified, under the Restoration. It is said
+that its final development came during the reign of Louis XVIII., and grew
+out of his admiration for the "_elegance et la rapidite des malles
+anglaises_," which had been duly impressed upon him during his sojourn in
+England.
+
+This may be so, and doubtless with some justification. _En passant_ it is
+curious to know, and, one may say, incredible to realize, that from the G.
+P. O. in London, in this year of enlightenment, there leaves each night
+various mail-coaches--for Dover, for Windsor, and perhaps elsewhere. They
+do not carry passengers, but they do give a very bad service in the
+delivery of certain classes of mail matter. The marvel is that such things
+are acknowledged as being fitting and proper to-day.
+
+In 1836 the "_malle-poste_" was reckoned, in Paris, as being _elegante et
+rapide_, having a speed of not less than sixteen kilometres an hour over
+give-and-take roads.
+
+Each evening, from the courtyard of the Hotel des Postes, the coaches
+left, with galloping horses and heavy loads, for the most extreme points
+of the frontier; eighty-six hours to Bordeaux at first, and finally
+only forty-four (in 1837); one hundred hours to Marseilles, later but
+sixty-eight.
+
+
+[Illustration: GRAND BUREAU DE LA POSTE]
+
+
+Stendhal tells of his journey by "_malle-poste_" from Paris to Marseilles
+in three days, and Victor Hugo has said that two nights on the road gave
+one a high idea of the _solidite_ of the human machine; and further says,
+of a journey down the Loire, that he recalled only a great tower at
+Orleans, a candlelit _salle_ of an _auberge en route_, and, at Blois, a
+bridge with a cross upon it. "In reality, during the journey, animation
+was suspended."
+
+What we knew, or our forefathers knew, as the "_poste-chaise_," properly
+"_chaise de poste_," came in under the Restoration. All the world knows,
+or should know, Edouard Thierry's picturesque description of it. "_Le reve
+de nos vingt ans, la voiture ou l'on n'est que deux ... devant vous le
+chemin libre, la plaine, la pente rapide, le pont._" "You traverse cities
+and hamlets without number, by the _grands rues_, the _grande place_,
+etc."
+
+In April, 1837, Stendhal quitted Paris under exactly these conditions for
+his tour of France. He bought "_une bonne caleche_," and left _via_
+Fontainebleau, Montargis, and Cosne. Two months after, however, he
+returned to the metropolis _via_ Bourges, having refused to continue his
+journey _en caleche_, preferring the "_malle-poste_" and the _diligence_
+of his youth.
+
+Public _diligences_, however, had but limited accommodation on grand
+occasions; Victor Hugo, who had been invited to the consecration of
+Charles X. at Reims, and his friend, Charles Nodier, the
+bibliophile,--also a friend of Dumas, it is recalled,--in company with two
+others, made the attempt amid much discomfort in a private carriage,--of a
+sort,--and Nodier wittily tells of how he and Hugo walked on foot up all
+the hills, each carrying his gripsack as well.
+
+More than all others the "Coches d'Eau" are especially characteristic of
+Paris; those fly-boats, whose successors ply up and down the Seine, to the
+joy of Americans, the convenience of the Parisian public, and--it is
+surely allowable to say it--the disgust of Londoners, now that their aged
+and decrepit "Thames steamboats" are no more.
+
+These early Parisian "Coches d'Eau" carried passengers up and down river
+for surprisingly low fares, and left the city at seven in the morning in
+summer, and eight in winter.
+
+The following is a list of the most important routes:
+
+  Paris--Nogent-sur-Seine     2 days en route
+  Paris--Briare               3  "    "   "
+  Paris--Montereau            1  "    "   "
+  Paris--Sens                 2  "    "   "
+  Paris--Auxerre              4  "    "   "
+
+All of these services catered for passengers and goods, and were, if not
+rapid, certainly a popular and comfortable means of communication.
+
+An even more popular journey, and one which partook more particularly of a
+pleasure-trip, was that of the _galiote_, which left each day from below
+the Pont-Royal for St. Cloud, giving a day's outing by river which to-day,
+even, is the most fascinating of the many _petits voyages_ to be
+undertaken around Paris.
+
+The other recognized public means of communication between the metropolis
+and the provincial towns and cities were the "Messageries Royales," and
+two other similar companies, "La Compagne Lafitte et Caillard" and "Les
+Francaises."
+
+These companies put also before the Parisian public two other classes of
+vehicular accommodation, the "_pataches suspendues_," small carriages with
+but one horse, which ran between Paris and Strasburg, Metz, Nancy, and
+Lyons at the price of ten sous per hour.
+
+Again there was another means of travel which originated in Paris; it was
+known as the "Messageries a Cheval." Travellers rode _on_ horses, which
+were furnished by the company, their _bagages_ being transported in
+advance by a "_chariot_." In fine weather this must certainly have been an
+agreeable and romantic mode of travel in those days; what would be thought
+of it to-day, when one, if he does not fly over the kilometres in a
+Sud--or Orient--Express, is as likely as not covering the _Route
+Nationale_ at sixty or more kilometres the hour in an automobile, it is
+doubtful to say.
+
+Finally came the famous _diligence_, which to-day, outside the "Rollo"
+books and the reprints of old-time travel literature, is seldom met with
+in print.
+
+"These immense structures," says an observant French writer, "which lost
+sometimes their centre of gravity, in spite of all precaution and care on
+the part of the driver and the guard, were, by an _Ordonnance Royale_ of
+the 16th of July, 1828, limited as to their dimensions, weight, and
+design."
+
+Each _diligence_ carried as many spare parts as does a modern automobile,
+and workshops and supply-depots were situated at equal distances along the
+routes. Hugo said that the complexity of it all represented to him "the
+perfect image of a nation; its constitution and its government. In the
+_diligence_ was to be found, as in the state, the aristocracy in the
+coupe, the _bourgeoisie_ in the interior, the people in _la rotonde_, and,
+finally, 'the artists, the thinkers, and the unclassed' in the utmost
+height, the _imperiale_, beside the _conducteur_, who represented the law
+of the state.
+
+"This great _diligence_, with its body painted in staring yellow, and its
+five horses, carries one in a diminutive space through all the sleeping
+villages and hamlets of the countryside."
+
+From Paris, in 1830, the journey by _diligence_ to Toulouse--182 French
+leagues--took eight days; to Rouen, thirteen hours; to Lyons, _par_
+Auxerre, four days, and to Calais, two and a half days.
+
+The _diligence_ was certainly an energetic mode of travel, but not without
+its discomforts, particularly in bad weather. Prosper Merimee gave up his
+winter journey overland to Madrid in 1859, and took ship at Bordeaux for
+Alicante in Spain, because, as he says, "all the inside places had been
+taken for a month ahead."
+
+The coming of the _chemin de fer_ can hardly be dealt with here. Its
+advent is comparatively modern history, and is familiar to all.
+
+Paris, as might naturally be supposed, was the hub from which radiated the
+great spokes of iron which bound the uttermost frontiers intimately with
+the capital.
+
+There were three short lines of rail laid down in the provinces before
+Paris itself took up with the innovation: at Roanne, St.
+Etienne-Andrezieux, Epinac, and Alais.
+
+By _la loi du 9 Juillet_, 1835, a line was built from Paris to St.
+Germain, seventeen kilometres, and its official opening for traffic, which
+took place two years later, was celebrated by a _dejeuner de circonstance_
+at the Restaurant du Pavillon Henri Quatre at St. Germain.
+
+Then came "Le Nord" to Lille, Boulogne, and Calais; "L'Ouest" to Havre,
+Rouen, Cherbourg, and Brest; "L'Est" to Toul and Nancy; "L'Orleans" to
+Orleans and the Loire Valley; and, finally, the "P. L. M." (Paris-Lyon et
+Mediterranee) to the south of France. "Then it was that Paris really
+became the rich neighbour of all the provincial towns and cities. Before,
+she had been a sort of pompous and distant relative"--as a whimsical
+Frenchman has put it.
+
+The mutability of time and the advent of mechanical traction is fast
+changing all things--in France and elsewhere. The Chevaux Blancs, Deux
+Pigeons, Cloches d'Or, and the Hotels de la Poste, de la Croix, and du
+Grand Cerf are fast disappearing from the large towns, and the way of iron
+is, or will be, a source of inspiration to the poets of the future, as has
+the _postillon_, the _diligence_, and the _chaise de poste_ in the past.
+Here is a quatrain written by a despairing _aubergiste_ of the little town
+of Salons, which indicates how the innovation was received by the
+provincials--in spite of its undeniable serviceability:
+
+  "En l'an neuf cent, machine lourde
+  A tretous farfit damne et mal,
+  Gens moult rioient d'icelle bourde,
+  Au campas renovoient cheval."
+
+The railways which centre upon Paris are indeed the ties that bind Paris
+to the rest of France, and vice versa. Their termini--the great
+_gares_--are at all times the very concentrated epitome of the life of the
+day.
+
+The new _gares_ of the P. L. M. and the Orleans railways are truly
+splendid and palatial establishments, with--at first glance--little of the
+odour of the railway about them, and much of the ceremonial appointments
+of a great civic institution; with gorgeous _salles a manger_,
+waiting-rooms, and--bearing the P. L. M. in mind in particular--not a
+little of the aspect of an art-gallery.
+
+The other _embarcaderes_ are less up-to-date--that vague term which we
+twentieth-century folk are wont to make use of in describing the latest
+innovations. The Gare St. Lazare is an enormous establishment, with a
+hotel appendage, which of itself is of great size; the Gare du Nord is
+equally imposing, but architecturally unbeautiful; while the Gare de l'Est
+still holds in its tympanum the melancholy symbolical figure of the late
+lamented Ville de Strasbourg, the companion in tears, one may say, of that
+other funereally decorated statue on the Place de la Concorde.
+
+Paris, too, is well served by her tramways propelled by horses,--which
+have not yet wholly disappeared,--and by steam and electricity, applied in
+a most ingenious manner. By this means Paris has indeed been transformed
+from its interior thoroughfares to its uttermost _banlieu_.
+
+The last two words on the subject have reference to the advent and
+development of the bicycle and the automobile, as swift, safe, and
+economical means of transport.
+
+The reign of the bicycle as a pure fad was comparatively short, whatever
+may have been its charm of infatuation. As a utile thing it is perhaps
+more worthy of consideration, for it cannot be denied that its
+development--and of its later gigantic offspring, the automobile--has had
+a great deal to do with the better construction and up-keep of modern
+roadways, whether urban or suburban.
+
+"_La petite reine bicyclette_" has been feted in light verse many times,
+but no one seems to have hit off its salient features as did Charles
+Monselet. Others have referred to riders of the "new means of locomotion"
+as "cads on casters," and a writer in _Le Gaulois_ stigmatized them as
+"_imbeciles a roulettes_," which is much the same; while no less a
+personage than Francisque Sarcey demanded, in the journal _La France_,
+that the police should suppress forthwith this _eccentricite_.
+
+Charles Monselet's eight short lines are more appreciative:
+
+  "Instrument raide
+  En fer battu
+  Qui depossede
+  Le char torlu;
+  Velocipede
+  Rail impromptu,
+  Fils d'Archimede,
+  D'ou nous viens-tu?"
+
+Though it is apart from the era of Dumas, this discursion into a phase of
+present-day Paris is, perhaps, allowable in drawing a comparison between
+the city of to-day and that even of the Second Empire, which was, at its
+height, contemporary with Dumas' prime.
+
+If Paris was blooming suddenly forth into beauty and grace in the period
+which extended from the Revolution to the Franco-Prussian War, she has
+certainly, since that time, not ceased to shed her radiance; indeed, she
+flowers more abundantly than ever, though, truth to tell, it is all due to
+the patronage which the state has ever given, in France, to the fostering
+of the arts as well as industries.
+
+And so Paris has grown,--beautiful and great,--and the stranger within her
+gates, whether he come by road or rail, by automobile or railway-coach, is
+sure to be duly impressed with the fact that Paris is for one and all
+alike a city founded of and for the people.
+
+
+
+
+CHAPTER VIII.
+
+THE BANKS OF THE SEINE
+
+
+The city of the ancient Parisii is the one particular spot throughout the
+length of the sea-green Seine--that "winding river" whose name, says
+Thierry, in his "Histoire des Gaulois," is derived from a Celtic word
+having this signification--where is resuscitated the historical being of
+the entire French nation.
+
+Here it circles around the Ile St. Louis, cutting it apart from the Ile de
+la Cite, and rushing up against the northern bank, periodically throws up
+a mass of gravelly sand, just in the precise spot where, in mediaeval
+times, was an open market-place.
+
+Here the inhabitants of the city met the country dealers, who landed
+produce from their boats, traded, purchased, and sold, and departed whence
+they came, into the regions of the upper Seine or the Marne, or downward
+to the lower river cities of Meulan, Mantes, and Vernon.
+
+At this time Paris began rapidly to grow on each side of the stream, and
+became the great market or trading-place where the swains who lived
+up-river mingled with the hewers of wood from the forests of La Brie and
+the reapers of corn from the sunny plains of La Beauce.
+
+These country folk, it would appear, preferred the northern part of Paris
+to the southern--it was less ceremonious, less ecclesiastical. If they
+approached the city from rearward of the Universite, by the Orleans
+highroad, they paid exorbitant toll to the Abbot of St. Germain des Pres.
+Here they paid considerably less to the Prevot of Paris. And thus from
+very early times the distinction was made, and grew with advancing years,
+between the town, or La Ville, which distinguished it from the Cite and
+the Universite.
+
+This sandy river-bank gradually evolved itself into the Quai and Place de
+la Greve,--its etymology will not be difficult to trace,--and endured in
+the full liberty of its olden functions as late as the day of Louis XV.
+Here might have been seen great stacks of firewood, charcoal, corn, wine,
+hay, and straw.
+
+
+[Illustration: THE ODEON IN 1818]
+
+
+Aside from its artistic and economic value, the Seine plays no great part
+in the story of Paris. It does not divide what is glorious from what is
+sordid, as does "London's river." When one crosses any one of its
+numerous bridges, one does not exchange thriftiness and sublimity for the
+commonplace. Les Invalides, L'Institut, the Luxembourg, the Pantheon, the
+Odeon, the Universite,--whose buildings cluster around the ancient
+Sorbonne,--the Hotel de Cluny, and the churches of St. Sulpice, St.
+Etienne du Mont, and St. Severin, and, last but not least, the Chamber of
+Deputies, all are on the south side of Paris, and do not shrink greatly in
+artistic or historical importance from Notre Dame, the Louvre, the Tour
+St. Jacques, the Place de la Bastille, the Palais Royal, or the
+Theatre-Francais.
+
+The greatest function of the Seine, when one tries to focus the memory on
+its past, is to recall to us that old Paris was a trinity. Born of the
+river itself rose the Cite, the home of the Church and state, scarce
+finding room for her palaces and churches, while close to her side, on the
+south bank, the Universite spread herself out, and on the right bank the
+Ville hummed with trade and became the home of the great municipal
+institutions.
+
+Dumas shifts the scenes of his Parisian romances first from one side to
+the other, but always his mediaeval Paris is the same grand, luxurious, and
+lively stage setting. Certainly no historian could hope to have done
+better.
+
+Intrigue, riot, and bloodshed of course there were; and perhaps it may be
+thought in undue proportions. But did not the history of Paris itself
+furnish the romancer with these very essential details?
+
+At all events, there is no great sordidness or squalor perpetuated in
+Dumas' pages. Perhaps it is for this reason that they prove so readable,
+and their wearing qualities so great.
+
+There is in the reminiscence of history and the present aspect of the
+Seine, throughout its length, the material for the constructing a volume
+of bulk which should not lack either variety, picturesqueness, or
+interest. It furthermore is a subject which seems to have been shamefully
+neglected by writers of all ranks.
+
+Turner, of the brilliant palette, pictured many of its scenes, and his
+touring-companion wrote a more or less imaginative and wofully incorrect
+running commentary on the itinerary of the journey, as he did also of
+their descent of the Loire. Philip Gilbert Hamerton, accompanied by a
+series of charming pictures by Joseph Pennell (the first really artistic
+topographical illustrations ever put into the pages of a book), did the
+same for the Saone; and, of course, the Thames has been "done" by many
+writers of all shades of ability, but manifestly the Seine, along whose
+banks lie the scenes of some of the most historic and momentous events of
+mediaeval times, has been sadly neglected.
+
+Paris is divided into practically two equal parts by the swift-flowing
+current of the Seine, which winds its way in sundry convolutions from its
+source beyond Chatillon-sur-Seine to the sea at Honfleur.
+
+The praises of the winding river which connects Havre, Rouen, Vernon,
+Mantes, and Paris has often been sung, but the brief, virile description
+of it in the eighty-seventh chapter of Dumas' "Le Vicomte de Bragelonne"
+has scarcely been equalled. Apropos of the journey of Madame and
+Buckingham Paris-ward, after having taken leave of the English fleet at
+Havre, Dumas says of this greatest of French waterways:
+
+"The weather was fine. Spring cast its flowers and its perfumed foliage
+upon the path. Normandy, with its vast variety of vegetation, its blue
+sky, and silver rivers, displayed itself in all its loveliness."
+
+       *       *       *       *       *
+
+Through Paris its direction is from the southeast to the northwest, a
+distance, within the fortifications, of perhaps twelve kilometres.
+
+Two islands of size cut its currents: the Ile St. Louis and the Ile de la
+Cite. A description of its banks, taken from a French work of the time,
+better defines its aspect immediately after the Revolution of 1848 than
+any amount of conjecture or present-day observation, so it is here given:
+
+"In its course through the metropolis, the Seine is bordered by a series
+of magnificent quais, which in turn are bordered by rows of sturdy trees.
+
+"The most attractive of these quais are those which flank the Louvre, the
+Tuileries, D'Orsay, Voltaire, and Conti.
+
+"Below the quais are deposed nine ports, or _gares_, each devoted to a
+special class of merchandise, as coal, wine, produce, timber, etc.
+
+"The north and south portions of the city are connected by twenty-six
+_ponts_ (this was in 1852; others have since been erected, which are
+mentioned elsewhere in the book).
+
+"Coming from the upper river, they were known as follows: the Ponts
+Napoleon, de Bercy, d'Austerlitz, the Passerelle de l'Estacade; then, on
+the right branch of the river, around the islands, the Ponts Maril,
+Louis-Philippe, d'Arcole, Notre Dame, and the Pont au Change; on the left
+branch, the Passerelle St. Louis or Constantine, the Ponts Tournelle, de
+la Cite, de l'Archeveche, le Pont aux Doubles, le Petit Pont, and the Pont
+St. Michel; here the two branches join again: le Pont Neuf, des Arts, du
+Carrousel, Royal, Solferino, de la Concorde, des Invalides, de l'Alma, de
+Jena, and Grenelle.
+
+"Near the Pont d'Austerlitz the Seine receives the waters of the petite
+Riviere de Bievre, or des Gobelins, which traverses the faubourgs."
+
+Of the bridges of Paris, Dumas in his romances has not a little to say. It
+were not possible for a romanticist--or a realist, for that matter--to
+write of Paris and not be continually confronting his characters with one
+or another of the many splendid bridges which cross the Seine between
+Conflans-Charenton and Asnieres.
+
+In the "Mousquetaires" series, in the Valois romances, and in his later
+works of lesser import, mention of these fine old bridges continually
+recurs; more than all others the Pont Neuf, perhaps, or the Pont au
+Change.
+
+In "Pauline" there is a charming touch which we may take to smack somewhat
+of the author's own predilections and experiences. He says, concerning his
+embarkation upon a craft which he had hired at a little Norman
+fishing-village, as one jobs a carriage in Paris: "I set up to be a
+sailor, and served apprenticeship on a craft between the Pont des
+Tuileries and the Pont de la Concorde."
+
+Of the Seine bridges none is more historic than the Pont Neuf, usually
+reckoned as one of the finest in Europe; which recalls the fact that the
+French--ecclesiastic and laymen architects alike--were master
+bridge-builders. For proof of this one has only to recall the wonderful
+bridge of St. Benezet d'Avignon, the fortified bridges of Orthos and
+Cahors, the bridge at Lyons, built by the Primate of Gaul himself, and
+many others throughout the length and breadth of France.
+
+The Pont Neuf was commenced in the reign of Henri III. (1578), and
+finished in the reign of Henri IV. (1604), and is composed of two unequal
+parts, which come to their juncture at the extremity of the Ile de la
+Cite.
+
+In the early years a great bronze horse, known familiarly as the "Cheval
+de Bronze," but without a rider, was placed upon this bridge. During the
+Revolution, when cannon and ammunition were made out of any metal which
+could be obtained, this curious statue disappeared, though later its
+pedestal was replaced--under the Bourbons--by an equestrian statue of the
+Huguenot king.
+
+The Pont des Arts, while not usually accredited as a beautiful
+structure,--and certainly not comparable with many other of its
+fellows,--is interesting by reason of the fact that its nine iron arches,
+which led from the Quai du Louvre to the Quai de la Monnai, formed the
+first example of an iron bridge ever constructed in France. Its
+nomenclature is derived from the Louvre, which was then called--before the
+title was applied to the College des Quatre Nations--the Palais des Arts.
+In Restoration times it was one of the fashionable promenades of Paris.
+
+The Pont au Change took its name from the _changeurs_, or money-brokers,
+who lived upon it during the reign of Louis le Jeune in 1141. It bridged
+the widest part of the Seine, and, after being destroyed by flood and fire
+in 1408, 1616, and 1621, was rebuilt in 1647. The houses which originally
+covered it were removed in 1788 by the order of Louis XVI. In "The
+Conspirators," Dumas places the opening scene at that end of the Pont Neuf
+which abuts on the Quai de l'Ecole, and is precise enough, but in
+"Marguerite de Valois" he evidently confounds the Pont Neuf with the Pont
+au Change, when he puts into the mouth of Coconnas, the Piedmontese: "They
+who rob on the Pont Neuf are, then, like you, in the service of the king.
+_Mordi!_ I have been very unjust, sir; for until now I had taken them for
+thieves."
+
+The Pont Louis XV. was built in 1787 out of part of the material which was
+taken from the ruins of the Bastille.
+
+Latterly there has sprung up the new Pont Alexandre, commemorative of the
+Czar's visit to Paris, which for magnificent proportions, beauty of design
+and arrangement, quite overtops any other of its kind, in Paris or
+elsewhere.
+
+The quais which line the Seine as it runs through Paris are like no other
+quais in the known world. They are the very essence and epitome of certain
+phases of life which find no counterpart elsewhere.
+
+The following description of a bibliomaniac from Dumas' "Memoires" is
+unique and apropos:
+
+"Bibliomaniac, evolved from _book_ and _mania_, is a variety of the
+species man--_species bipes et genus homo_.
+
+"This animal has two feet and is without features, and usually wanders
+about the quais and boulevards, stopping in front of every stall and
+fingering all the books. He is generally dressed in a coat which is too
+long and trousers which are too short, his shoes are always down at heel,
+and on his head is an ill-shapen hat. One of the signs by which he may be
+recognized is shown by the fact that he never washes his hands."
+
+The booksellers' stalls of the quais of Paris are famous, though it is
+doubtful if genuine bargains exist there in great numbers. It is
+significant, however, that more volumes of Dumas' romances are offered
+for sale--so it seems to the passer-by--than of any other author.
+
+The Seine opposite the Louvre, and, indeed, throughout the length of its
+flow through Paris, enters largely into the scheme of the romances, where
+scenes are laid in the metropolis.
+
+Like the throng which stormed the walls of the Louvre on the night of the
+18th of August, 1527, during that splendid royal fete, the account of
+which opens the pages of "Marguerite de Valois," the Seine itself
+resembles Dumas' description of the midnight crowd, which he likens to "a
+dark and rolling sea, each swell of which increases to a foaming wave;
+this sea, extending all along the quai, spent its waves at the base of the
+Louvre, on the one hand, and against the Hotel de Bourbon, which was
+opposite, on the other."
+
+In the chapter entitled "What Happened on the Night of the Twelfth of
+July," in "The Taking of the Bastille," Dumas writes of the banks of the
+Seine in this wise:
+
+"Once upon the quai, the two countrymen saw glittering on the bridge near
+the Tuileries the arms of another body of men, which, in all probability,
+was not a body of friends; they silently glided to the end of the quai,
+and descended the bank which leads along the Seine. The clock of the
+Tuileries was just then striking eleven.
+
+"When they had got beneath the trees which line the banks of the river,
+fine aspen-trees and poplars, which bathe their feet in its current, when
+they were lost to the sight of their pursuers, hid by their friendly
+foliage, the farmers and Pitou threw themselves on the grass and opened a
+council of war."
+
+Just previously the mob had battered down the gate of the Tuileries, as a
+means of escape from the pen in which the dragoons had crowded the
+populace.
+
+"'Tell me now, Father Billot,' inquired Pitou, after having carried the
+timber some thirty yards, 'are we going far in this way?'
+
+"'We are going as far as the gate of the Tuileries.'
+
+"'Ho, ho!' cried the crowd, who at once divined his intention.
+
+"And it made way for them more eagerly even than before.
+
+"Pitou looked about him, and saw that the gate was not more than thirty
+paces distant from them.
+
+"'I can reach it,' said he, with the brevity of a Pythagorean.
+
+"The labour was so much the easier to Pitou from five or six of the
+strongest of the crowd taking their share of the burden.
+
+"The result of this was a very notable acceleration in their progress.
+
+"In five minutes they had reached the iron gates.
+
+"'Come, now,' cried Billot, 'clap your shoulders to it, and all push
+together.'
+
+"'Good!' said Pitou. 'I understand now. We have just made a warlike
+engine; the Romans used to call it a ram.'
+
+"'Now, my boys,' cried Billot, 'once, twice, thrice,' and the joist,
+directed with a furious impetus, struck the lock of the gate with
+resounding violence.
+
+"The soldiers who were on guard in the interior of the garden hastened to
+resist this invasion. But at the third stroke the gate gave way, turning
+violently on its hinges, and through that gaping and gloomy mouth the
+crowd rushed impetuously.
+
+"From the movement that was then made, the Prince de Lambesq perceived at
+once that an opening had been effected which allowed the escape of those
+whom he had considered his prisoners. He was furious with disappointment."
+
+
+
+
+
+CHAPTER IX.
+
+THE SECOND EMPIRE AND AFTER
+
+
+The Revolution of 1848 narrowed itself down to the issue of Bourbonism or
+Bonapartism. Nobody had a good word to say for the constitution, and all
+parties took liberties with it. It was inaugurated as the most democratic
+of all possible charters. It gave a vote to everybody, women and children
+excepted. It affirmed liberty with so wide a latitude of interpretation as
+to leave nothing to be desired by the reddest Republican that ever wore
+pistols in his belt at the heels of the redoubtable M. Marc Caussidiere,
+or expressed faith in the social Utopia of the enthusiastic M. Proudhon.
+Freedom to speak, to write, to assemble, and to vote,--all were secured to
+all Frenchmen by this marvellous charter. When it became the law of the
+land, everybody began to nibble at and destroy it. The right of speaking
+was speedily reduced to the narrowest limits, and the liberty of the
+press was pared down to the merest shred. The right of meeting was placed
+at the tender mercies of the prefect of police, and the right of voting
+was attacked with even more zeal and fervour. The Revolution proved more
+voracious than Saturn himself, in devouring its children, and it made
+short work of men and reputations. It reduced MM. de Lamartine, Armand
+Marrast, and General Cavaignac into nothingness; sent MM. Louis Blanc,
+Ledru Rollin, and Caussidiere into the dreary exile of London, and
+consigned the fiery Barbes, the vindictive Blanqui, the impatient Raspail,
+and a host of other regenerators of the human race, to the fastnesses of
+Vincennes. Having done this, the Revolution left scarcely a vestige of the
+constitution,--nothing but a few crumbs, and those were not crumbs of
+comfort, which remained merely to prove to the incredulous that such a
+thing as the constitution once existed.
+
+The former king and queen took hidden refuge in a small cottage at
+Honfleur, whence they were to depart a few days later for England--ever a
+refuge for exiled monarchists. Escape became very urgent, and the king,
+with an English passport in the name of William Smith, and the queen as
+Madame Lebrun, crossed over to Le Havre and ultimately to England.
+Lamartine evidently mistakes even the time and place of this incident,
+but newspaper accounts of the time, both French and English, are very full
+as to the details. On landing at the quai at Le Havre, the ex-royal party
+was conducted to the "Express" steam-packet, which had been placed at
+their disposal for the cross-channel journey. Dumas takes the very
+incident as a detail for his story of "Pauline," and his treatment thereof
+does not differ greatly from the facts as above set forth. Two years later
+(August 26, 1850), at Claremont, in Surrey, in the presence of the queen
+and several members of his family, Louis-Philippe died. He was the last of
+the Bourbons, with whom Dumas proudly claimed acquaintanceship, and as
+such, only a short time before, was one of the mightiest of the world's
+monarchs, standing on one of the loftiest pinnacles of an ambition which,
+in the mind of a stronger or more wilful personality, might have
+accomplished with success much that with him resulted in defeat.
+
+After the maelstrom of discontent--the Revolution of 1848--had settled
+down, there came a series of events well-nigh as disturbing. Events in
+Paris were rapidly ripening for a change. The known determination of Louis
+Napoleon to prolong his power, either as president for another term of
+four years, or for life, or as consul or emperor of the French, and the
+support which his pretensions received from large masses of the people and
+from the rank and file of the army, had brought him into collision with a
+rival--General Changarnier--almost as powerful as himself, and with an
+ambition quite as daring as his own.
+
+What Louis Napoleon wanted was evident. There was no secret about his
+designs. The partisans of Henri V. looked to Changarnier for the
+restoration of peace and legitimacy, and the Orleanists considered that he
+was the most likely man in France to bring back the house of Orleans, and
+the comfortable days of bribery, corruption, and a thriving trade; while
+the fat _bourgeoisie_ venerated him as the unflinching foe of the
+disturbers of order, and the great bulwark against Communism and the Red
+Republic.
+
+Still, this was manifestly not to be, though no one seemed to care a straw
+about Louis Napoleon's republic, or whether or no he dared to declare
+himself king or emperor, or whether they should be ruled by Bonapartist,
+Bourbon, or Orleanist.
+
+These were truly perilous times for France; and, though they did not
+culminate in disaster until twenty years after, Louis Napoleon availed
+himself of every opportunity to efface from the Second Republic, of which
+he was at this time the head, every vestige of the democratic features
+which it ought to have borne.
+
+At the same time he surrounded himself with imposing state and pomp, so
+regal in character that it was evidently intended to accustom the public
+to see in him the object of that homage which is usually reserved for
+crowned heads alone, and thus gradually and imperceptibly to prepare the
+nation to witness, without surprise, his assuming, when the favourable
+occasion offered, the purple and diadem of the empire.
+
+For instance, he took up his residence in the ancient palace of the
+sovereigns of France, the Tuileries, and gave banquets and balls of regal
+magnificence; he ordered his effigy to be struck upon the coinage of the
+nation, surrounded by the words "Louis Napoleon Bonaparte," without any
+title, whether as president or otherwise, being affixed. He restored the
+imperial eagles to the standards of the army; the official organ, the
+_Moniteur_, recommended the restoration of the titles and orders of
+hereditary nobility; the trees of liberty were uprooted everywhere; the
+Republican motto, "Liberty, Equality, Fraternity," was erased from the
+public edifices; the colossal statue of Liberty, surmounted by a Phrygian
+cap, which stood in the centre of the Place de Bourgogne, behind the
+Legislative Assembly, was demolished; and the old anti-Republican names of
+the streets were restored, so that the Palais National again became the
+Palais Royal; the Theatre de la Nation, the Theatre Francais; the Rue de
+la Concorde, the Rue Royal, etc.; and, in short, to all appearances, Louis
+Napoleon began early in his tenure of office to assiduously pave the way
+to the throne of the empire as Napoleon III.
+
+
+[Illustration: PALAIS ROYAL, STREET FRONT]
+
+
+The _London Times_ correspondent of that day related a characteristic
+exercise of this sweeping instruction of the Minister of the Interior to
+erase the words "Liberte, Egalite, Fraternite" from all public buildings.
+(The three revolutionary watchwords had, in fact, been erased the previous
+year from the principal entrance to the Elysee, and the words "Republique
+Francaise," in large letters, were substituted.)
+
+"There is, I believe, only one public monument in Paris--the Ecole de
+Droit--where the workmen employed in effacing that inscription will have a
+double duty. They will have to interfere with the 'Liberalism' of two
+generations. Immediately under the coat of yellow paint which covered the
+facade of the building, and on which time and the inclemency of the
+seasons have done their work, may still be traced, above the modern
+device, the following words, inscribed by order of the Commune of Paris
+during the Reign of Terror: 'Liberte, Egalite, Fraternite, Unite,
+Indivisibilite de la Republique Francaise!' As the effacing of the
+inscription of 1848 is not now by means of whitewash or paint, but by
+erasure, both the inscriptions will disappear at the same moment."
+
+Among the most important demolitions and renovations of the sixties was
+the work undertaken on the Louvre at the orders of the ambitious emperor,
+Napoleon III. The structure was cloven to the foundations, through the
+slated roof, the gilded and painted ceiling, the parqueted floors; and,
+where one formerly enjoyed an artistic feast that had taken four centuries
+to provide, one gazed upon, from the pavement to the roof, a tarpaulin
+that closed a vista which might otherwise have been a quarter of a mile in
+length.
+
+Builders toiled day and night to connect the Louvre with the main body of
+the Palace of the Tuileries, which itself was to disappear within so short
+a time. Meanwhile so great a displacement of the art treasures was
+undergone, that _habitues_ knew not which way to turn for favourite
+pictures, with which the last fifty years had made them so familiar.
+
+To those of our elders who knew the Paris of the early fifties, the
+present-day aspect--in spite of all its glorious wealth of boulevards and
+architectural splendour--will suggest the mutability of all things.
+
+It serves our purpose, however, to realize that much of the character has
+gone from the Quartier Latin; that the Tuileries disappeared with the
+Commune, and that the old distinctions between Old Paris, the faubourgs,
+and the Communal Annexes, have become practically non-existent with the
+opening up of the Haussman boulevards, at the instigation of the wary
+Napoleon III. Paris is still, however, an "_ancienne ville et une ville
+neuve_," and the paradox is inexplicable.
+
+The differences between the past and the present are indeed great, but
+nowhere--not even in the Tower of London, which is usually given as an
+example of the contrast and progress of the ages--is a more tangible and
+specific opposition shown, than in what remains to-day of mediaeval Paris,
+in juxtaposition with the later architectural embellishments. In many
+instances is seen the newest of the "_art nouveau_"--as it is popularly
+known--cheek by jowl with some mediaeval shrine.
+
+It is difficult at this time to say what effect these swirls and blobs,
+which are daily thrusting themselves into every form of architectural
+display throughout Continental Europe, would have had on these masters
+who built the Gothic splendours of France, or even the hybrid _rococo_
+style, which, be it not denied, is in many instances beautiful in spite of
+its idiosyncrasies.
+
+       *       *       *       *       *
+
+To those who are familiar with the "sights" of Paris, there is nothing
+left but to study the aspects of the life of the streets, the boulevards,
+the quais, the gardens, the restaurants, and the cafes. Here at least is
+to be found daily, and hourly, new sensations and old ones, but at all
+events it is an ever-shifting scene, such as no other city in the world
+knows.
+
+The life of the _faubourgs_ and of the _quartiers_ has ever been made the
+special province of artists and authors, and to wander through them, to
+sit beneath the trees of the squares and gardens, or even outside a cafe,
+is to contemplate, in no small degree, much of the incident and
+temperament of life which others have already perpetuated and made famous.
+
+There is little new or original effort which can be made, though once and
+again a new performer comes upon the stage,--a poet who sings songs of
+vagabondage, a painter who catches a fleeting impression, which at least,
+if not new, seems new. But in the main one has to hark back to former
+generations, if one would feel the real spirit of romance and tradition.
+There are few who, like Monet, can stop before a shrine and see in it
+forty-three varying moods--or some other incredible number, as did that
+artist when he limned his impressions of the facade of the Cathedral of
+Notre Dame de Rouen.
+
+Such landmarks as the Place de la Bastille, the Pantheon,--anciently the
+site of the Abbey de Ste. Genevieve,--the Chambre des Deputes,--the former
+Palais Bourbon,--the Tour St. Jacques, the Fountain des Innocents, St.
+Germain l'Auxerrois, the Palais du Luxembourg, the Louvre, and quite all
+the historic and notable buildings one sees, are all pictured with
+fidelity, and more or less minuteness, in the pages of Dumas' romances.
+
+Again, in such other localities as the Boulevard des Italiens, the Cafe de
+Paris, the Theatre Francais, the Odeon, the Palais Royal,--where, in the
+"Orleans Bureau," Dumas found his first occupation in Paris,--took place
+many incidents of Dumas' life, which are of personal import.
+
+For recollections and reminders of the author's contemporaries, there are
+countless other localities too numerous to mention. In the Rue Pigalle, at
+No. 12, died Eugene Scribe; in the Rue de Douai lived Edmond About, while
+in the Rue d'Amsterdam, at No. 77, lived Dumas himself, and in the Rue St.
+Lazare, Madame George Sand. Montmartre is sacred to the name of Zola in
+the minds of most readers of latter-day French fiction, while many more
+famous names of all ranks, of litterateurs, of actors, of artists and
+statesmen,--all contemporaries and many of them friends of Dumas,--will be
+found on the tombstones of Pere la Chaise.
+
+The motive, then, to be deduced from these pages is that they are a record
+of many things associated with Alexandre Dumas, his life, and his work.
+Equally so is a fleeting itinerary of strolls around and about the Paris
+of Dumas' romances, with occasional journeys into the provinces.
+
+
+[Illustration: 77 Rue d'Amsterdam]
+
+[Illustration: Rue de St. Denis]
+
+
+Thus the centuries have done their work of extending and mingling,--"_le
+jeu est fait_," so to speak,--but Paris, by the necessities of her growth
+and by her rather general devotion to one stately, towering form of
+domestic architecture, has often made the separation of old from new
+peculiarly difficult to a casual eye. It is indeed her way to be new and
+splendid, to be always the bride of cities, espousing human destiny. And,
+truly, it is in this character that we do her homage with our visits, our
+money, and our admiration. Out of gray, unwieldy, distributed London
+one flies from a vast and romantic camp to a city exact and beautiful. So
+exact, so beautiful, so consistent in her vivacity, so neat in her
+industry, so splendid in her display, that one comes to think that the
+ultimate way to enjoy Paris is to pass unquestioning and unsolicitous into
+her life, exclaiming not "Look here," and "Look there" in a fever of
+sightseeing, but rather baring one's breast, like Daudet's _ouvrier_, to
+her assaults of glistening life.
+
+       *       *       *       *       *
+
+The Paris of to-day is a reconstructed Paris; its old splendours not
+wholly eradicated, but changed in all but their associations. The life of
+Paris, too, has undergone a similar evolution, from what it was even in
+Dumas' time.
+
+The celebrities of the Cafe de Paris have mostly, if not quite all, passed
+away. No more does the eccentric Prince Demidoff promulgate his
+eccentricities into the very faces of the onlookers; no more does the
+great Dumas make omelettes in golden sugar-bowls; and no more does he pass
+his criticisms--or was it encomiums?--on the _veau saute_.
+
+The student revels of the _quartier_ have become more sedate, if not more
+fastidious, and there is no such Mardi Gras and Mi-Careme festivities as
+used to hold forth on the boulevards in the forties. And on the Buttes
+Chaumont and Montmartre are found batteries of questionable
+amusements,--especially got up for the delectation of _les Anglais_,
+provincials, and soldiers off duty,--in place of the _cabarets_, which, if
+of doubtful morality, were at least a certain social factor.
+
+New bridges span the Seine, and new thoroughfares, from humble alleys to
+lordly and magnificent boulevards, have clarified many a slum, and
+brightened and sweetened the atmosphere; so there is some considerable
+gain there.
+
+The Parisian cabby is, as he always was, a devil-may-care sort of a
+fellow, who would as soon run you down with his sorry old outfit as not;
+but perhaps even his characteristics will change sooner or later, now that
+the automobile is upon us in all its proclaimed perfection.
+
+The "New Opera," that sumptuous structure which bears the inscription
+"Academie Nationale de Musique," begun by Garnier in 1861, and completed a
+dozen years later, is, in its commanding situation and splendid
+appointments, the peer of any other in the world. In spite of this, its
+fame will hardly rival that of the Comedie Francaise, or even the Opera
+Comique of former days, and the names of latter-day stars will have
+difficulty in competing with those of Rachel, Talma, and their fellow
+actors on the stage of other days.
+
+Whom, if you please, have we to-day whose name and fame is as wide as
+those just mentioned? None, save Madame Bernhardt, who suggests to the
+well-informed person--who is a very considerable body--the preeminent
+influences which formerly emanated from Paris in the fifties. But this of
+itself is a subject too vast for inclusion here, and it were better passed
+by. So, too, with the Parisian artists who made the art of the world in
+the latter half of the nineteenth century. Decamps, Delacroix, Corot, and
+Vernet are names with which to conjure up reminiscences as great as those
+of Rubens, Titian, and Van Dyke. This may be disputed, but, if one were
+given the same familiarity therewith, it is possible that one's contrary
+opinion would be greatly modified.
+
+To-day, in addition to the glorious art collection of former times, there
+are the splendid, though ever shifting, collections of the Musee du
+Luxembourg, the mural paintings of the Hotel de Ville, which are a gallery
+in themselves, and the two spring Salon exhibitions, to say nothing of the
+newly attempted Salon d'Automne. Curiously enough, some of us find great
+pleasure in the contemplation of the decorations in the interiors of the
+great _gares_ of the Lyons or the Orleans railways. Certainly these last
+examples of applied art are of a lavishness--and even excellence--which a
+former generation would not have thought of.
+
+The Arc de Triomphe d'Etoile, of course, remains as it always has since
+its erection at the instigation of Napoleon I.; while the Bois de Boulogne
+came into existence as a municipal pleasure-ground only in the early
+fifties, and has since endured as the great open-air attraction of Paris
+for those who did not wish to go farther afield.
+
+The churches have not changed greatly in all this time, except that they
+had some narrow escapes during the Franco-Prussian War, and still narrower
+ones during the Commune. It may be remarked here _en passant_ that, for
+the first time in seventy years, so say the records, there has just been
+taken down the scaffolding which, in one part or another, has surrounded
+the church of St. Eustache. Here, then, is something tangible which has
+not changed until recently (March, 1904), since the days when Dumas first
+came to Paris.
+
+The Paris of the nineteenth century is, as might naturally be inferred,
+that of which the most is known; the eighteenth and seventeenth are indeed
+difficult to follow with accuracy as to the exact locale of their events;
+but the sixteenth looms up--curiously enough--more plainly than either of
+the two centuries which followed. The histories, and even the guide-books,
+will explain why this is so, so it shall have no place here.
+
+Order, of a sort, immediately came forth from out the chaos of the
+Revolution. The great Napoleon began the process, and, in a way, it was
+continued by the plebeian Louis-Philippe, elaborated in the Second Empire,
+and perfected--if a great capital such as Paris ever really is
+perfected--under the Third Republic.
+
+Improvement and demolition--which is not always improvement--still go on,
+and such of Old Paris as is not preserved by special effort is fast
+falling before the stride of progress.
+
+A body was organized in 1897, under the name of the "_Commission du Vieux
+Paris_," which is expected to do much good work in the preservation of the
+chronicles in stone of days long past.
+
+The very streets are noisy with the echo of an unpeaceful past; and their
+frequent and unexpected turnings, even in these modern days, are
+suggestive of their history in a most graphic manner.
+
+The square in front of the Fontaine des Innocents is but an ancient
+burial-ground; before the Hotel de Ville came Etienne Marcel; and
+Charlemagne to the cathedral; the Place de la Concorde was the death-bed
+of the Girondins, and the Place de la Madeleine the tomb of the Capetians;
+and thus it is that Paris--as does no other city--mingles its centuries of
+strife amid a life which is known as the most vigorous and varied of its
+age.
+
+To enter here into a detailed comparison between the charm of Paris of
+to-day and yesterday would indeed be a work of supererogation; and only in
+so far as it bears directly upon the scenes and incidents amid which Dumas
+lived is it so made.
+
+
+
+
+CHAPTER X.
+
+LA VILLE
+
+
+It would be impossible to form a precise topographical itinerary of the
+scenes of Dumas' romances and the wanderings of his characters, even in
+Paris itself. The area is so very wide, and the number of localities,
+which have more than an incidental interest, so very great, that the
+futility of such a task will at once be apparent.
+
+Probably the most prominent of all the romances, so far as identifying the
+scenes of their action goes, are the Valois series.
+
+As we know, Dumas was very fond of the romantic house of Valois, and,
+whether in town or country, he seemed to take an especial pride in
+presenting details of portraiture and place in a surprisingly complete,
+though not superfluous, manner.
+
+The Louvre has the most intimate connection with both the Valois and the
+D'Artagnan romances, and is treated elsewhere as a chapter by itself.
+
+Dumas' most marked reference to the Hotel de Ville is found in the taking
+of the Bastille, and, though it is not so very great, he gives prominence
+to the incident of the deputation of the people who waited upon De
+Flesselles, the prevot, just before the march upon the Bastille.
+
+In history we know the same individual as "Messire Jacques de Flesselles,
+Chevalier, Conseiller de la Grande Chambre, Maitre Honoraire des Requetes,
+Conseiller d'Etat." The anecdote is recorded in history, too, that Louis
+XVI., when he visited the Hotel de Ville in 1789, was presented with a
+cockade of blue and red, the colours of the ville--the white was not added
+till some days later.
+
+_"Votre Majeste," dit le maire, "veut-elle accepte le signe distinctif des
+Francais?"_
+
+For reply the king took the cockade and put it on his chapeau, entered the
+_grande salle_, and took his place on the throne.
+
+All the broils and turmoils which have taken place since the great
+Revolution, have likewise had the Hotel de Ville for the theatre where
+their first scenes were represented.
+
+It was invaded by the people during the Revolutions of 1830 and 1848, as
+well as in the Commune in 1871, when, in addition to the human fury, it
+was attacked by the flames, which finally brought about its
+destruction. Thus perished that noble structure, which owed its inception
+to that art-loving monarch, Francois I.
+
+
+[Illustration: PLACE DE LA GREVE]
+
+
+The present-day Quai de l'Hotel de Ville is the successor of the Quai des
+Ormes, which dates from the fourteenth century, and the Quai de la Greve,
+which existed as early as 1254, and which descended by an easy slope to
+the strand from which it took its name.
+
+Adjoining the quai was the Place de la Greve, which approximates the
+present Place de l'Hotel de Ville.
+
+A near neighbour of the Hotel de Ville is the Tour de St. Jacques la
+Boucherie, where sits to-day Paris's clerk of the weather.
+
+It was here that Marguerite de Valois, in company with the Duchesse de
+Nevers, repaired from their pilgrimage to the Cimetiere des Innocents, to
+view the results of the Huguenot massacre of the preceding night.
+
+"'And where are you two going?' inquired Catherine, the queen's mother.
+'To see some rare and curious Greek books found at an old Protestant
+pastor's, and which have been taken to the Tour de St. Jacques la
+Boucherie,' replied the inquisitive and erudite Marguerite. For, be it
+recalled, her knowledge and liking of classical literature was most
+profound."
+
+This fine Gothic tower, which is still a notable landmark, is the only
+_relique_ of the Church of St. Jacques. A bull of Pope Calixtus II., dated
+1119, first makes mention of it, and Francois I. made it a royal parish
+church.
+
+The tower itself was not built until 1508, having alone cost 1,350 livres.
+It has often been pictured and painted, and to-day it is a willing or
+unwilling sitter to most snap-shot camerists who come within focus of it,
+but no one has perceived the spirit of its genuine old-time flavour as did
+Meryon, in his wonderful etching--so sought for by collectors--called "Le
+Stryge."
+
+The artist's view-point, taken from the gallery of Notre Dame,--though in
+the early nineteenth century,--with the grotesque head and shoulders of
+one of those monstrous figures, half-man, half-beast, with which the
+galleries of Notre Dame are peopled, preserves, with its very simplicity
+and directness, an impression of _Vieux Paris_ which is impossible to
+duplicate to-day.
+
+The Place de la Greve was for a time, at least, the most famous or
+infamous of all the places of execution in Paris. One reads of it largely
+in "Marguerite de Valois" in this connection, and in "Le Vicomte de
+Bragelonne" it again crops up, but in a much more pleasant manner.
+
+
+[Illustration: TOUR DE ST. JACQUES LA BOUCHERIE
+
+(Meryon's Etching, "Le Stryge")]
+
+
+Dumas, ever praiseful of good wine and good food, describes Vatel, the
+_maitre d'hotel_ of Fouquet, as crossing the square with a hamper filled
+with bottles, which he had just purchased at the _cabaret_ of the sign of
+"L'Image de Notre Dame;" a queer name for a wine-shop, no doubt, and,
+though it does not exist to-day, and so cannot be authenticated, it may
+likely enough have had an existence outside the novelist's page. At all
+events, it is placed definitely enough, as one learns from the chapter of
+"Le Vicomte de Bragelonne," entitled "The Wine of M. de la Fontaine."
+
+"'What the devil are you doing here, Vatel?' said Fouquet. 'Are you buying
+wine at a _cabaret_ in the Place de Greve?'... 'I have found here,
+monsieur, a "_vin de Joigny_" which your friends like. This I know, as
+they come once a week to drink it at the "Image de Notre Dame."'"
+
+In the following chapter Dumas reverts to the inglorious aspect of the
+Place and the Quai de la Greve as follows:
+
+"At two o'clock the next day, fifty thousand spectators had taken their
+position upon the place, around two gibbets which had been elevated
+between the Quai de la Greve and Quai Pelletier; one close to the other,
+with their backs to the parapet of the river. In the morning, also, all
+the sworn criers of the good city of Paris had traversed the quarters of
+the city, particularly the Halles and the faubourgs, announcing with their
+hoarse and indefatigable voices the great justice done by the king upon
+two peculators; two thieves, devourers of the people. And these people,
+whose interests were so warmly looked after, in order not to fail in
+respect for their king, quitted shops, stalls, and ateliers, to go and
+evince a little gratitude to Louis XIV., absolutely like invited guests,
+who feared to commit an impoliteness in not repairing to the house of him
+who invited them. According to the tenor of the sentence, which the criers
+read loudly and badly, two farmers of the revenues, monopolists of money,
+dilapidators of the royal provisions, extortioners and forgers, were about
+to undergo capital punishment on the Place de Greve, with their names
+affixed over their heads, according to their sentence. As to those names,
+the sentence made no mention of them. The curiosity of the Parisians was
+at its height, and, as we have said, an immense crowd waited with feverish
+impatience the hour fixed for the execution."
+
+D'Artagnan, who, in the pages of "Le Vicomte de Bragelonne," was no more a
+young man, owned this very _cabaret_, the "Image de Notre Dame." "'I will
+go, then,' says he, 'to the "Image de Notre Dame," and drink a glass of
+Spanish wine with my tenant, which he cannot fail to offer me.'"
+
+_En route_ to the _cabaret_, D'Artagnan asked of his companion, "Is there
+a procession to-day?" "It is a hanging, monsieur." "What! a hanging on the
+Greve? The devil take the rogue who gets himself hung the day I go to take
+my rent," said D'Artagnan.
+
+The old _mousquetaire_ did not get his rent, there was riot and bloodshed
+galore, "L'Image de Notre Dame" was set on fire, and D'Artagnan had one
+more opportunity to cry out "_A moi, Mousquetaires_," and enter into a
+first-class fight; all, of course, on behalf of right and justice, for he
+saved two men, destined to be gibbeted, from the more frightful death of
+torture by fire, to which the fanatical crowd had condemned them.
+
+The most extensive reference to the Place de la Greve is undoubtedly in
+the "Forty-Five Guardsmen," where is described the execution of Salcede,
+the coiner of false money and the co-conspirator with the Guises.
+
+"M. Friard was right when he talked of one hundred thousand persons as the
+number of spectators who would meet on the Place de la Greve and its
+environs, to witness the execution of Salcede. All Paris appeared to have
+a rendezvous at the Hotel de Ville; and Paris is very exact, and never
+misses a fete; and the death of a man is a fete, especially when he has
+raised so many passions that some curse and others bless him.
+
+"The spectators who succeeded in reaching the place saw the archers and a
+large number of Swiss and light horse surrounding a little scaffold raised
+about four feet from the ground. It was so low as to be visible only to
+those immediately surrounding it, or to those who had windows overlooking
+the place. Four vigorous white horses beat the ground impatiently with
+their hoofs, to the great terror of the women, who had either chosen this
+place willingly, or had been forcibly pushed there.
+
+"These horses were unused, and had never done more work than to support,
+by some chance, on their broad backs, the chubby children of the peasants.
+After the scaffold and the horses, what next attracted all looks was the
+principal window of the Hotel de Ville, which was hung with red velvet and
+gold, and ornamented with the royal arms. This was for the king. Half-past
+one had just struck when this window was filled. First came Henri III.,
+pale, almost bald, although he was at that time only thirty-five, and with
+a sombre expression, always a mystery to his subjects, who, when they saw
+him appear, never knew whether to say '_Vive le roi!_' or to pray for his
+soul. He was dressed in black, without jewels or orders, and a single
+diamond shone in his cap, serving as a fastening to three short plumes. He
+carried in his hand a little black dog that his sister-in-law, Marie
+Stuart, had sent him from her prison, and on which his fingers looked as
+white as alabaster.
+
+"Behind the king came Catherine de Medici, almost bowed by age, for she
+might be sixty-six or sixty-seven, but still carrying her head firm and
+erect, and darting bitter glances from under her thick eyebrows. At her
+side appeared the melancholy but sweet face of the queen, Louise de
+Touraine. Catherine came as a triumph, she as a punishment. Behind them
+came two handsome young men, brothers, the eldest of whom smiled with
+wonderful beauty, and the younger with great melancholy. The one was Anne,
+Duc de Joyeuse, and the other Henri de Joyeuse, Comte de Bouchage. The
+people had for these favourites of the king none of the hatred which they
+had felt toward Maugiron, Quelus, and Schomberg.
+
+"Henri saluted the people gravely; then, turning to the young men, he
+said, 'Anne, lean against the tapestry; it may last a long time.'...
+
+"Henri, in anger, gave the sign. It was repeated, the cords were
+refastened, four men jumped on the horses, which, urged by violent blows,
+started off in opposite directions. A horrible cracking and a terrible cry
+was heard. The blood was seen to spout from the limbs of the unhappy man,
+whose face was no longer that of a man, but of a demon.
+
+"'Ah, heaven!' he cried; 'I will speak, I will tell all. Ah! cursed
+duch--'
+
+"The voice had been heard above everything, but suddenly it ceased.
+
+"'Stop, stop,' cried Catherine, 'let him speak.'
+
+"But it was too late; the head of Salcede fell helplessly on one side, he
+glanced once more to where he had seen the page, and then expired."
+
+       *       *       *       *       *
+
+Near the Hotel de Ville is "Le Chatelet," a name familiar enough to
+travellers about Paris. It is an omnibus centre, a station on the new
+"Metropolitan," and its name has been given to one of the most modern
+theatres of Paris.
+
+Dumas, in "Le Collier de la Reine," makes but little use of the old Prison
+du Grand Chatelet, but he does not ignore it altogether, which seems to
+point to the fact that he has neglected very few historic buildings, or,
+for that matter, incidents of Paris in mediaeval times, in compiling the
+famous D'Artagnan and Valois romances.
+
+The Place du Chatelet is one of the most celebrated and historic open
+spots of Paris. The old prison was on the site of an old Caesarian forum.
+The prison was destroyed in 1806, but its history for seven centuries was
+one of the most dramatic.
+
+One may search for Planchet's shop, the "Pilon d'Or," of which Dumas
+writes in "The Vicomte de Bragelonne," in the Rue des Lombards of to-day,
+but he will not find it, though there are a dozen _boutiques_ in the
+little street which joins the present Rue St. Denis with the present
+Boulevard Sebastopol, which to all intents and purposes might as well have
+been the abode of D'Artagnan's old servitor.
+
+The Rue des Lombards, like Lombard Street in London, took its names from
+the original money-changers, who gathered here in great numbers in the
+twelfth century. Planchet's little shop was devoted to the sale of green
+groceries, with, presumably, a sprinkling of other attendant garnishings
+for the table.
+
+To-day, the most notable of the shops here, of a similar character, is the
+famous _magasin de confiserie_, "Au Fidele Berger," for which Guilbert,
+the author of "Jeune Malade," made the original verses for the wrappers
+which covered the products of the house. A contemporary of the poet has
+said that the "_enveloppe etait moins bonne que la marchandaise_."
+
+The reader may judge for himself. This is one of the verses:
+
+  "Le soleil peut s'eteindre et le ciel s'obscurcir,
+  J'ai vu ma Marita, je n'ai plus qu'a mourir."
+
+Every lover of Dumas' romances, and all who feel as though at one time or
+another they had been blessed with an intimate acquaintance with that
+"King of Cavaliers,"--D'Artagnan,--will have a fondness for the old narrow
+ways in the Rue d'Arbre Sec, which remains to-day much as it always was.
+
+It runs from the Quai de l'Hotel de Ville,--once the unsavoury Quai de la
+Greve,--toward Les Halles; and throughout its length, which is not very
+great, it has that crazy, tumble-down appearance which comes, sooner or
+later, to most narrow thoroughfares of mediaeval times.
+
+It is not so very picturesque nor so very tumble-down, it is simply
+wobbly. It is not, nor ever was, a pretentious thoroughfare, and, in
+short, is distinctly commonplace; but there is a little house, on the
+right-hand side, near the river, which will be famous as long as it
+stands, as the intimate scene of much of the minor action of "Marguerite
+de Valois," "Chicot the Jester," and others of the series.
+
+
+[Illustration: HOTEL DES MOUSQUETAIRES, RUE D'ARBRE SEC]
+
+
+This _maison_ is rather better off than most of its neighbours, with its
+white-fronted lower stories, its little balcony over the Cremerie, which
+now occupies the ground-floor, and its escutcheon--a blazing sun--midway
+in its facade.
+
+Moreover it is still a lodging-house,--an humble hotel if you like,--at
+any rate something more than a mere house which offers "_logement a
+pied_." Indeed its enterprising proprietor has erected a staring blue and
+white enamel sign which advertises his house:
+
+        HOTEL
+  DES MOUSQUETAIRES
+
+There is, perhaps, no harm in all this, as it would seem beyond all
+question to have some justification for its name, and it is above all
+something more tangible than the sites of many homes and haunts which may
+to-day be occupied with a modern _magasin_, _a tous genres_, or a great
+tourist caravanserai.
+
+This house bears the name of "Hotel des Mousquetaires," as if it were
+really a lineal descendant of the "Hotel de la Belle Etoile," of which
+Dumas writes.
+
+Probably it is not the same, and if it is, there is, likely enough, no
+significance between its present name and its former glory save that of
+perspicacity on the part of the present patron.
+
+From the romance one learns how Catherine de Medici sought to obtain that
+compromising note which was in possession of Orthon, the page. Dumas says
+of this horror-chamber of the Louvre:
+
+"Catherine now reached a second door, which, revolving on its hinges,
+admitted to the depths of the _oubliette_, where--crushed, bleeding, and
+mutilated, by a fall of more than one hundred feet--lay the still
+palpitating form of poor Orthon; while, on the other side of the wall
+forming the barrier of this dreadful spot, the waters of the Seine were
+heard to ripple by, brought by a species of subterraneous filtration to
+the foot of the staircase.
+
+"Having reached the damp and unwholesome abyss, which, during her reign,
+had witnessed numerous similar scenes to that now enacted, Catherine
+proceeded to search the corpse, eagerly drew forth the desired billet,
+ascertained by the lantern that it was the one she sought, then, pushing
+the mangled body from her, she pressed a spring, the bottom of the
+_oubliette_ sank down, and the corpse, borne by its own weight,
+disappeared toward the river.
+
+"Closing the door after her, she reascended; and, returning to her closet,
+read the paper poor Orthon had so valiantly defended. It was conceived in
+these words:
+
+     "'This evening at ten o'clock, Rue de l'Arbre-Sec, Hotel de la Belle
+     Etoile. Should you come, no reply is requisite; if otherwise, send
+     word back, _No_, by the bearer.
+
+          "'DE MOUY DE SAINT-PHALE.'
+
+"At eight o'clock Henri of Navarre took two of his gentlemen, went out by
+the Porte St. Honore, entered again by the Tour de Bois, crossed the Seine
+at the ferry of the Nesle, mounted the Rue St. Jacques, and there
+dismissed them, as if he were going to an amorous rendezvous. At the
+corner of the Rue des Mathurins he found a man on horseback, wrapped in a
+large cloak; he approached him.
+
+"'Mantes!' said the man.
+
+"'Pau!' replied the king.
+
+"The horseman instantly dismounted. Henri wrapped himself in his splashed
+mantle, sprang on his steed, rode down the Rue de la Harpe, crossed the
+Pont St. Michel, passed the Rue Barthelemy, crossed the river again on
+the Pont au Meunier, descended the quais, reached the Rue de l'Arbre-Sec,
+and knocked at Maitre la Huriere's."
+
+The route is easily traced to-day, and at the end of it is the Hotel des
+Mousquetaires, so it will not take much imagination to revivify the
+incident which Dumas conceived, though one may not get there that "good
+wine of Artois" which the innkeeper, La Huriere, served to Henri.
+
+The circumstance is recounted in "Marguerite de Valois," as follows:
+
+"'La Huriere, here is a gentleman wants you.'
+
+"La Huriere advanced, and looked at Henri; and, as his large cloak did not
+inspire him with very great veneration:
+
+"'Who are you?' asked he.
+
+"'Eh, _sang Dieu_!' returned Henri, pointing to La Mole. 'I am, as the
+gentleman told you, a Gascon gentleman come to court.'
+
+"'What do you want?'
+
+"'A room and supper.'
+
+"'I do not let a room to any one, unless he has a lackey.'
+
+"'Oh, but I will pay you a rose noble for your room and supper.'
+
+"'You are very generous, worthy sir,' said La Huriere, with some distrust.
+
+"'No; but expecting to sup here, I invited a friend of mine to meet me.
+Have you any good wine of Artois?'
+
+"'I have as good as the King of Navarre drinks.'
+
+"'Ah, good!'"
+
+The Rue de l'Arbre-Sec is of itself historic, though it was baptized as
+l'Arbre-Sel. Two legends of more than ordinary interest are connected with
+this once important though unimposing street. The first applies to its
+early nomenclature, and is to the effect that in the thirteenth century it
+contained an oak-tree, which, in the snows of winter, always remained free
+of the white blanket which otherwise covered everything around about. For
+this reason the tree was said to be so full of salt that the snow that
+fell upon it melted immediately, and the name was created for the
+thoroughfare, which then first rose to the dignity of a recognized _rue_.
+
+The second legend in a similar way accounts for the change of name to
+_arbre-sec_. At a certain rainy period, when the pavements and the walls
+of the houses were "_ruisselants d'eau_," the same tree remained
+absolutely dry. It is curious, too, to note that the Rue de l'Arbre-Sec is
+identified with a certain personage who lived in Mazarin's time, by the
+name of Mathieu Molle, whose fame as the first president of the
+_Parlement_ is preserved in the neighbouring Rue Mathieu Molle. It was in
+the hotel of "La Belle Etoile" that Dumas ensconced his character De la
+Mole--showing once again that Dumas dealt with very real characters.
+
+Opposite the colonnade of the Louvre is the Eglise St. Germain
+l'Auxerrois. From this church--founded by Childebert in 606--rang out the
+tocsin which was the signal for that infamous massacre of the Protestants
+in the time of Charles IX. In "Marguerite de Valois" Dumas has vividly
+described the event; not, perhaps, without certain embroidered
+embellishment, but, nevertheless, with a graphicness which the dry-as-dust
+historian of fact could hardly hope to equal.
+
+This cruel inspiration of Catherine de Medici's is recorded by Dumas thus:
+
+"'Hush!' said La Huriere.
+
+"'What is it?' inquired Coconnas and Maurevel together.
+
+"They heard the first stroke of the bell of St. Germain de l'Auxerrois
+vibrate.
+
+"'The signal!' exclaimed Maurevel. 'The time is put ahead, for it was
+agreed for midnight. So much the better. When it is the interest of God
+and the king, it is better that the clock should be put forward than
+backward.' And the sinister sound of the church-bell was distinctly heard.
+Then a shot was fired, and, in an instant, the light of several flambeaux
+blazed up like flashes of lightning in the Rue de l'Arbre-Sec."
+
+There is much more of moment that happened before and afterward "on this
+bloody ground;" all of which is fully recounted by the historians.
+
+       *       *       *       *       *
+
+At No. 7 Rue du Helder, just off the Boulevard des Italiens, in a region
+so well known to Dumas and his associates, lived De Franchi, the hero of
+the "Corsican Brothers." The _locale_ and the action of that rapid review
+of emotions to which Dumas gave the name of the "Corsican Brothers" ("Les
+Freres du Corse"), was not of the mean or sordid order, but rather of the
+well-to-do, a sort of semi-luxuriousness of the middle-class life of the
+time.
+
+The scene of the novelette bears the date of 1841, and Paris, especially
+in many of what are known as the newer parts, has changed but little
+since. A new shop-front here and there, the addition of a huge gilt sign,
+of which the proprietors of Parisian establishments are so fond, somewhat
+changes the outside aspect of things, but, on the whole, the _locale_
+often remains much as it was before, and, in this case, with but scarce
+three-quarters of a century past, the view down the Rue du Helder from
+its junction with Rue Taitbout differs little.
+
+"Hotel Picardie," in the Rue Tiquetonne,--still to be seen,--may or may
+not be the "La Chevrette" of "Twenty Years After," to which D'Artagnan
+repaired in the later years of his life. D'Artagnan's residence in the Rue
+Tiquetonne has, in the minds of many, made the street famous. It was
+famous, though, even before it was popularized by Dumas, and now that we
+are not able even to place the inn where D'Artagnan lived after he had
+retired from active service--it is still famous.
+
+At No. 12 and 16 are two grand habitations of former times. The former
+served as a residence to Henri de Talleyrand, who died in 1626, and later
+to the Marquis de Mauge, then to Daubonne, a _tapissier_, much in the
+favour of Louis XIII.
+
+The other is known as the "Hotel d'Artagnan," but it is difficult to trace
+its evolution from the comfortable inn of which Dumas wrote.
+
+
+[Illustration: D'ARTAGNAN'S LODGINGS, RUE TIQUETONNE]
+
+
+At No. 23 is about the only _relique_ left which bespeaks the gallant days
+of D'Artagnan and his fellows. It is a square tower of five _etages_, and,
+from the character of its architecture, we know it to be of the fourteenth
+or fifteenth century. It is known as the "Tour de Jean-sans-Peur."
+Jean-sans-Peur was the grandfather of Charles-le-Temeraire. Monstrelet
+has said that it was built to contain a strong chamber, in which its owner
+might sleep safely at night. It formed originally a part of the Hotel de
+Bourgogne, but to-day, though but partially disengaged from the
+neighbouring houses, it is evidently the only member of the original
+establishment which remains.
+
+Not far from the precincts of the Louvre was the Rue de la Martellerie,
+where lived Marie Touchet.
+
+The portraiture of Dumas forms a wonderfully complete list of the
+royalties and nobilities of France. Both the D'Artagnan gallery and the
+Valois series literally reek with the names of celebrated personages, and
+this, too, in the mere romances, for it must be remembered that, in spite
+of his reputation as a romancist, Dumas' historical sketches and travels
+were both numerous and of great extent.
+
+One significant portrait, though it is not one of noble birth, is that of
+Marie Touchet, extracted from "Marguerite de Valois," and reprinted here.
+
+"When Charles IX. and Henri of Navarre visited the Rue de la Martellerie,
+it was to see the celebrated Marie, who, though 'only a poor, simple
+girl,' as she referred to herself, was the Eve of Charles' paradise.
+'Your Eden, Sire,' said the gallant Henri.
+
+"'Dearest Marie,' said Charles, 'I have brought you another king happier
+than myself, for he has no crown; more unhappy than me, for he has no
+Marie Touchet.'
+
+"'Sire, it is, then, the King of Navarre?'
+
+"'It is, love.'
+
+"Henri went toward her, and Charles took his right hand.
+
+"'Look at this hand, Marie,' said he; 'it is the hand of a good brother
+and a loyal friend; and but for this hand--'
+
+"'Well, Sire!'
+
+"'But for this hand, this day, Marie, our boy had been fatherless.'
+
+"Marie uttered a cry, seized Henri's hand, and kissed it.
+
+"The king went to the bed where the child was still asleep.
+
+"'Eh!' said he, 'if this stout boy slept in the Louvre, instead of
+sleeping in this small house, he would change the aspect of things at
+present, and perhaps for the future.'
+
+"'Sire,' said Marie, 'without offence to your Majesty, I prefer his
+sleeping here; he sleeps better.'"
+
+This illustrates only one phase of Dumas' power of portraiture, based on
+historical fact, of course, and casting no new light on matters which are
+otherwise well known, but still a very fresh and vivifying method of
+projecting the features of those famous in the history of France, and a
+method, perhaps, which will serve to impress them upon the reader in a
+more nearly indelible fashion than any other.
+
+"It was this child of Marie Touchet and Charles IX. who afterward was the
+famous Duke d'Angouleme, who died in 1650; and, had he been legitimate,
+would have taken precedence of Henri III., Henri IV., Louis XIII., Louis
+XIV., etc., and altered the whole line of the royal succession of France."
+
+It was a pleasurable visit for all three, that of which Dumas writes.
+
+Charles, Henri, and Marie supped together, and the accomplished Prince of
+Bearn made the famous anagram from the letters of the lady's name, "_Je
+charme tout_," which Charles declared he would present to her worked in
+diamonds, and that it should be her motto.
+
+History does not state that he did so, but no doubt that was a detail
+which the chroniclers have overlooked, or, of course, it may have been an
+interpolation of Dumas'.
+
+       *       *       *       *       *
+
+Dumas' pen-pictures of the great Napoleon--whom he referred to as "The
+Ogre of Corsica"--will hardly please the great Corsican's admirers, though
+it is in no manner contemptuous. The following is from "The Count of Monte
+Cristo":
+
+"'Monsieur,' said the baron to the count, 'all the servants of his Majesty
+must approve of the latest intelligence which we have from the island of
+Elba. Bonaparte--' M. Dandre looked at Louis XVIII., who, employed in
+writing a note, did not even raise his head. 'Bonaparte,' continued the
+baron, 'is mortally wearied, and passes whole days in watching his miners
+at work at Porto-Longone.'
+
+"'And scratches himself for amusement,' added the king.
+
+"'Scratches himself?' inquired the count. 'What does your Majesty mean?'
+
+"'Yes, indeed, my dear count. Did you forget that this great man, this
+hero, this demigod, is attacked with a malady of the skin which worries
+him to death, _prurigo_?'
+
+"'And, moreover, M. le Comte,' continued the minister of police, 'we are
+almost assured that, in a very short time, the usurper will be insane.'
+
+"'Insane?'
+
+"'Insane to a degree; his head becomes weaker. Sometimes he weeps
+bitterly, sometimes laughs boisterously; at other times he passes hours on
+the seashore, flinging stones in the water, and when the flint makes
+"ducks and drakes" five or six times, he appears as delighted as if he had
+gained another Marengo or Austerlitz. Now, you must agree these are
+indubitable symptoms of weakness?'
+
+"'Or of wisdom, M. le Baron--or of wisdom,' said Louis XVIII., laughing;
+'the greatest captains of antiquity recreated themselves with casting
+pebbles into the ocean--see Plutarch's life of Scipio Africanus.'"
+
+Again, from the same work, the following estimate of Napoleon's position
+at Elba was, if not original, at least opinionated:
+
+"The emperor, now king of the petty isle of Elba, after having held
+sovereign sway over one-half of the world, counting us, his subjects, a
+small population of twenty millions,--after having been accustomed to hear
+the '_Vive Napoleons_' of at least six times that number of human beings,
+uttered in nearly every language of the globe,--was looked upon among the
+_haute societe_ of Marseilles as a ruined man, separated for ever from
+any fresh connection with France or claim to her throne."
+
+       *       *       *       *       *
+
+Firstly the Faubourg St. Denis is associated with Dumas' early life in
+Paris. He lived at No. 53 of the Rue du Faubourg St. Denis in 1824.
+
+When one walks past the Porte St. Denis and looks up at that
+seventeenth-century arch of triumph, built to commemorate the German
+victories of Louis Quatorze, one just misses the historical significance
+and architectural fitness of the arch. It is not merely an incident in the
+boulevard. It belongs not so much to the newer boulevard, as to the
+ancient Rue St. Denis, and it is only by proceeding some distance up this
+street, the ancient route of the pilgrims to the tomb of the saint, that
+the meaning of the Porte St. Denis can truly be appreciated. The arch may
+be heavy,--it has been described as hideous, and it truly is,--but seen in
+the Rue St. Denis, whose roadway passes under it, it forms a typical view
+even to-day of Old Paris, and of the Paris which entered so largely into
+Dumas' romances of the Louis.
+
+The more ancient Porte St. Denis, the gateway which lay between the
+faubourg, the plain, and the ville, performed a function quite different
+from that of the Renaissance gateway which exists to-day; in just what
+manner will be readily inferred when it is recalled that, with the Porte
+St. Antoine, the Porte St. Denis was the scene of much riot and bloodshed
+in the early history of Paris.
+
+
+[Illustration: 109 RUE DU FAUBOURG ST. DENIS (DESCAMPS' STUDIO)]
+
+
+There are no tram-cars or omnibuses passing through its arch, as through
+the Place du Carrousel, or the courtyards of the Louvre, to take away the
+sentiment of romance; though the traffic which swirls and eddies around
+its sturdy piers and walls is of a manifest up-to-date, twentieth-century
+variety.
+
+Through its great arch runs the Rue du Faubourg St. Denis, where, at No.
+109, was the studio of Gabriel Descamps, celebrated in "Capitaine
+Pamphile."
+
+       *       *       *       *       *
+
+In "Marguerite de Valois" we have a graphic reference--though rather more
+sentimental than was the author's wont--to the Cimetiere des Innocents:
+
+"On the day which succeeded that terrible massacre of St. Bartholomew's
+night, in 1572, a hawthorn-tree," said Dumas, and it is also recognized
+history, as well, "which had blossomed in the spring, and which, according
+to custom, had lost its odorous flower in the month of June, had strangely
+reblossomed during the night, and the Catholics, who saw in this even a
+miracle, and who by rendering this miracle popular made the Deity their
+accomplice, went in procession, cross and banner at their head, to the
+Cemetery of the Innocents, where this hawthorn was blooming."
+
+Amidst the cries of "_Vive le roi!_" "_Vive la messe!_" "_Mort aux
+Huguenots_," the accomplished Marguerite herself went to witness the
+phenomenon.
+
+"When they reached the top of the Rue des Prouvelles, they met some men
+who were dragging a carcass without any head. It was that of 'the admiral'
+(Coligny).... The men were going to hang it by the feet at Montfaucon...."
+
+"They entered the Cemetery of St. Innocents, and the clergy, forewarned of
+the visit of the king and the queen mother, awaited their Majesties to
+harangue them."
+
+The cemetery--or signs of it--have now disappeared, though the mortal
+victims of the massacre, and countless other souls besides, rest beneath
+the flagstones adjacent to Les Halles, the great market-house of Paris.
+
+The Fontaine des Innocents formerly marked the site, but now it is removed
+to the other side of Les Halles.
+
+This graceful Renaissance fountain was first erected in 1550, from designs
+of Pierre Lescot and Jean Goujon. It stood formerly before the Eglise des
+Innocents, which was demolished in 1783.
+
+The Fontaine des Innocents, in spite of its migrations, is a charming
+oasis of green trees and running water, in the midst of the rather
+encumbered market-square of Les Halles. Not that the region around about
+is at all unsavoury; far from it. There is debris of green vegetables and
+ripe fruits everywhere about, but it has not yet reached the unsavoury
+stage; before it does all will be swept away, and on the morrow the
+clamour and traffic will start fresh anew.
+
+The Place Royale, now called the Place des Vosges, is so largely
+identified with "La Comtesse de Charny" that no special mention can well
+be made of any action which here took place.
+
+At No. 21, now of course long since departed, lived "a gentleman entirely
+devoted to your Majesty," said Dumas, and the adventuress, Lady de Winter,
+whom D'Artagnan was wont to visit, was given domicile by Dumas at No. 6.
+Likely enough it was her true residence, though there is no opportunity of
+tracing it to-day, and one perforce must be satisfied with locating the
+houses of Madame de Sevigne and Victor Hugo, each of which bear tablets to
+that effect.
+
+The Place des Vosges is a charming square, reminiscent, in a way, of the
+courtyard of the Palais Royal, though lacking its splendour. The iron
+gateway to the central garden was a gift of Louis XIV., in 1685, when the
+square was known as the Place Royale. Richelieu caused to be set up here a
+magnificent equestrian statue of Louis XIII., which, however, was
+overturned in the Revolution, though it has since been replaced by another
+statue. The horse was the work of Ricciarelli de Volterre, a pupil of
+Michelangelo, and the figure was by Biard.
+
+The first great historical event held here was the _carrousel_ given in
+1612, two years after the tragic death of Henri IV. at the hands of the
+assassin Ravaillac. It was a function of Marie de Medici's to celebrate
+the alliance of France and Spain.
+
+Under Richelieu, the place became a celebrated duelling-ground, the most
+famous duel being that between the Duc de Guise and Coligny _fils_, the
+son of the admiral.
+
+The Place Royale soon became the most fashionable _quartier_, the houses
+around about being greatly in demand of the _noblesse_.
+
+Among its illustrious inhabitants have been the Rohans, the D'Alegres,
+Corneille, Conde, St. Vincent de Paul, Moliere, Turenne, Madame de
+Longueville, Cinq-Mars, and Richelieu.
+
+By _un arrete_ of the 17th Ventose, year VII., it was declared that the
+name of the department which should pay the largest part of its
+contributions by the 20th Germinal would be given to that of the principal
+place or square of Paris. The Department of the Vosges was the first to
+pay up, and the Place Royale became the Place des Vosges.
+
+A great deal of the action of the D'Artagnan romances took place in the
+Place Royale, and in the neighbouring _quartiers_ of St. Antoine and La
+Bastille, the place being the scene of the notable reunion of the four
+gallants in "Vingt Ans Apres."
+
+La Roquette, the prison, has disappeared, like the Bastille itself, but
+they are both perpetuated to-day, the former in the Rue Roquette, and the
+latter in the Place de la Bastille.
+
+Dumas does not project their horrors unduly, though the Bastille crops up
+in many of the chapters of the Valois romances, and one entire volume is
+devoted to "The Taking of the Bastille."
+
+D'Artagnan himself was doomed, by an order of arrest issued by Richelieu,
+to be incarcerated therein; but the gallant _mousquetaire_, by a subtle
+scheme, got hold of the warrant and made a present of it to the intriguing
+cardinal himself.
+
+The sombre and sinister guillotine, since become so famous, is made by
+Dumas subject of a weirdly fascinating chapter in "La Comtesse de
+Charny." Dumas' description is as follows:
+
+"When Guilbert got out of the carriage he saw that he was in the court of
+a prison, and at once recognized it as the Bicetre. A fine misty rain fell
+diagonally and stained the gray walls. In the middle of the court five or
+six carpenters, under the direction of a master workman, and a little man
+clad in black, who seemed to direct everybody, put a machine of a hitherto
+strange and unknown form. Guilbert shuddered; he recognized Doctor
+Guillotin, and the machine itself was the one of which he had seen a model
+in the cellar of the editor of '_l'ami du peuple_.'... The very workmen
+were as yet ignorant of the secret of this novel machine. 'There,' said
+Doctor Guillotin, ... 'it is now only necessary to put the knife in the
+groove.'... This was the form of the machine: a platform fifteen feet
+square, reached by a simple staircase, on each side of this platform two
+grooved uprights, ten or twelve feet high. In the grooves slid a kind of
+crescent-shaped knife. A little opening was made between two beams,
+through which a man's head could be passed.... 'Gentlemen,' said
+Guillotin, 'all being here, we will begin.'"
+
+Then follows the same vivid record of executing and blood-spurting that
+has attracted many other writers perhaps as gifted as Dumas, but none
+have told it more graphically, simply, or truthfully.
+
+       *       *       *       *       *
+
+Every one knows the Mount of Martyrs, its history, and its modern aspect,
+which has sadly degenerated of late.
+
+To-day it is simply a hilltop of cheap gaiety, whose patrons are catered
+for by the Moulin Rouge, the Moulin de la Galette, and a score of
+"eccentric cafes," though its past is burdened with Christian tragedy. Up
+its slope St. Denis is fabulously supposed to have carried his head after
+his martyrdom, and the quiet, almost forlorn Rue St. Eleuthere still
+perpetuates the name of his companion in misery. Long afterward, in the
+chapel erected on this spot, Ignatius Loyola and his companions solemnly
+vowed themselves to their great work. So here on sinful Montmartre, above
+Paris, was born the Society of Jesus. The Revolution saw another band of
+martyrs, when the nuns of the Abbaye de Montmartre, old and young, chanted
+their progress to the guillotine, and little more than thirty years ago
+the Commune precipitated its terrible struggle in Montmartre. It was in
+the Rue des Rosiers, on the 18th of March, 1871, that the blood of
+Generals Lecomte and Clement-Thomas was shed.
+
+Hard by, in the Parc Monceau, is the statue of Guy de Maupassant, and so
+the memory of the sinful mount is perpetuated to us.
+
+Dumas did not make the use of this banal attribute of Paris that many
+other realists and romancists alike have done, but he frequently refers to
+it in his "Memoires."
+
+Madame de la Motte, the scheming adventuress of the "Collier de la Reine,"
+lived at No. 57 Rue Charlot, in the Quartier des Infants-Rouges. It was
+here, at the Hotel Boulainvilliers, where the Marquise de Boulainvilliers
+brought up the young girl of the blood royal of the Valois, who afterward
+became known as Madame de la Motte.
+
+Near by, in the same street, is the superb hotel of Gabrielle d'Estrees,
+who herself was not altogether unknown to the court. The Rue de Valois,
+leading from the Rue St. Honore to the Rue Beaujolais, beside the Palais
+Royal, as might be supposed, especially appealed to Dumas, and he laid one
+of the most cheerful scenes of the "Chevalier d'Harmental" in the hotel,
+No. 10, built by Richelieu for L'Abbe Metel de Bois-Robert, the founder of
+the Academie Francaise.
+
+Off the Rue Sourdiere, was the Couloir St. Hyacinthe, where lived Jean
+Paul Marat--"the friend of the people," whose description by Dumas, in
+"La Comtesse de Charny," does not differ greatly from others of this
+notorious person.
+
+In the early pages of "The Count of Monte Cristo," one's attention is
+transferred from Marseilles to Paris, to No. 13 Rue Coq-Heron, where lived
+M. Noirtier, to whom the luckless Dantes was commissioned to deliver the
+fateful packet, which was left in his care by the dying Captain Leclerc.
+
+The incident of the handing over of this letter to the depute procureur du
+roi is recounted thus by Dumas:
+
+"'Stop a moment,' said the deputy, as Dantes took his hat and gloves. 'To
+whom is it addressed?'
+
+"'To M. Noirtier, Rue Coq-Heron, Paris.' Had a thunderbolt fallen into the
+room, Villefort could not have been more stupefied. He sank into his seat,
+and, hastily turning over the packet, drew forth the fatal letter, at
+which he glanced with an expression of terror.
+
+"'M. Noirtier, Rue Coq-Heron, No. 13,' murmured he, growing still paler.
+
+"'Yes,' said Dantes; 'do you then know him?'
+
+"'No,' replied Villefort; 'a faithful servant of the king does not know
+conspirators.'
+
+"'It is a conspiracy, then?' asked Dantes, who, after believing himself
+free, now began to feel a tenfold alarm. 'I have already told you,
+however, sir, I was ignorant of the contents of the letter.'
+
+"'Yes, but you knew the name of the person to whom it was addressed,' said
+Villefort.
+
+"'I was forced to read the address to know to whom to give it.'
+
+"'Have you shown this letter to any one?' asked Villefort, becoming still
+more pale.
+
+"'To no one, on my honour.'
+
+"'Everybody is ignorant that you are the bearer of a letter from the isle
+of Elba, and addressed to M. Noirtier?'
+
+"'Everybody, except the person who gave it to me.'"
+
+       *       *       *       *       *
+
+The Rue Coq-Heron is one of those whimsically named streets of Paris,
+which lend themselves to the art of the novelist.
+
+The origin of the name of this tiny street, which runs tangently off from
+the Rue du Louvre, is curious and naive. A shopkeeper of the street, who
+raised fowls, saw, one day, coming out of its shell, a _petit coq_ with a
+neck and beak quite different, and much longer, than the others of the
+same brood. Everybody said it was a heron, and the neighbours crowded
+around to see the phenomenon; and so the street came to be baptized the
+Rue Coq-Heron.
+
+In the Rue Chaussee d'Antin, at No. 7, the wily Baron Danglars had
+ensconced himself after his descent on Paris. It was here that Dantes
+caused to be left his first "_carte de visite_" upon his subsequent
+arrival.
+
+Among the slighter works of Dumas, which are daily becoming more and more
+recognized--in English--as being masterpieces of their kind, is "Gabriel
+Lambert." It deals with the life of Paris of the thirties; much the same
+period as does "Captain Pamphile," "The Corsican Brothers," and "Pauline,"
+and that in which Dumas himself was just entering into the literary life
+of Paris.
+
+Like "Pauline" and "Captain Pamphile," too, the narrative, simple though
+it is,--at least it is not involved,--shifts its scenes the length and
+breadth of the continent of Europe, and shows a versatility in the
+construction of a latter-day romance which is quite the equal of that of
+the unapproachable mediaeval romances. It further resembles "The Corsican
+Brothers," in that it purveys a duel of the first quality--this time in
+the Allee de la Muette of the Bois de Boulogne, and that most of the
+Parisians in the story are domiciled in and about the Boulevard des
+Italiens, the Rue Taitbout, and the Rue du Helder; all of them localities
+very familiar to Dumas in real life. In spite of the similarity of the
+duel of Gabriel to that of De Franchi, there is no repetition of scene or
+incident detail.
+
+The story deals frankly with the brutal and vulgar malefactor, in this
+case a counterfeiter of bank notes, one Gabriel, the son of a poor peasant
+of Normandy, who, it would appear, was fascinated by the ominous words of
+the inscription which French bank notes formerly bore.
+
+  LA LOI PUNIT DE MORT
+    LE CONTREFACTEUR
+
+Dumas occasionally took up a theme which, unpromising in itself, was yet
+alluring through its very lack of sympathy. "Gabriel Lambert" is a story
+of vulgar rascality unredeemed by any spark of courage, wit, or humanity.
+There is much of truth in the characterization, and some sentiment, but
+little enough of romance of the gallant vagabond order.
+
+Dumas never attempted a more difficult feat than the composition of an
+appealing story from this material.
+
+Twenty years after the first appearance of "Gabriel Lambert," in 1844, M.
+Amedee de Jallais brought Dumas a "scenario" taken from the romance.
+Unsuitable and unsympathetic though the principal character was, Dumas
+found the "scenario" so deftly made that he resolved to turn the book into
+a drama. This was quickly done, and the rehearsals promised a success. On
+the evening of the first performance Dumas showed himself full of
+confidence in the play--confidence which amounted almost to certainty; for
+he said to a friend with whom he promenaded the corridors of the theatre
+while awaiting the rise of the curtain: "I am sure of my piece; to-night,
+I can defy the critics." Some of these gentlemen, unfortunately
+overhearing him, were provoked to hostility, and, finding unhappy phrases
+here and there in the piece, they laid hold of them without mercy. Only
+the comic part of the drama, a scene introduced by Dumas, in which a
+vagabond steals a clock in the presence of its owner with superb audacity,
+disarmed their opposition. But the verve of this comic part could not save
+the play, says Gabriel Ferry, in narrating this anecdote. The antipathy
+aroused by the principal character doomed it, and the career of the piece
+was short.
+
+It remains, however,--in the book, at any rate,--a wonderful
+characterization, with its pictures of the blue Mediterranean at Toulon,
+the gay life of the Parisian boulevards, its miniature portrait of the
+great Vidocq, and the sinister account of the prison of Bicetre, which,
+since the abandonment of the Place de la Greve, had become the last resort
+of those condemned to death.
+
+The tale is a short one, but it vibrates between the _rues_ and the
+boulevards, from the Hotel de Venise in the Rue des Vieux-Augustins (now
+the Rue Herold), where Gabriel, upon coming to Paris, first had his
+lodgings, to the purlieus of the fashionable world,--the old Italian Opera
+in the Rue Pelletier,--and No. 11 Rue Taitbout, where afterward Gabriel
+had ensconced himself in a luxurious apartment.
+
+
+
+
+[Illustration: NOTRE DAME DE PARIS]
+
+
+CHAPTER XI.
+
+LA CITE
+
+
+It is difficult to write of La Cite; it is indeed, impossible to write of
+it with fulness, unless one were to devote a large volume--or many large
+volumes--to it alone.
+
+To the tourists it is mostly recalled as being the _berceau_ of Notre Dame
+or the morgue. The latter, fortunately, is an entirely modern institution,
+and, though it existed in Dumas' own time, did not when the scenes of the
+D'Artagnan or Valois romances were laid.
+
+Looking toward Notre Dame from the Pont du Carrousel, one feels a
+veritable thrill of emotion as one regards this city of kings and
+revolutions.
+
+The very buildings on the Ile de la Cite mingle in a symphony of ashen
+memories. The statue of the great Henri IV., bowered in trees; the two old
+houses at the apex of the Place Dauphine, in one of which Madame Roland
+was born; the massive Palais de Justice; the soaring Sainte Chapelle,
+which St. Louis built for the Crown of Thorns, and "to the glory of God
+and France," and the towers of the Conciergerie, whose floor is for ever
+stained with the tears of Marie Antoinette.
+
+Romance and history have both set their seal upon the locality, and no one
+better than Dumas has told its story in romance.
+
+       *       *       *       *       *
+
+Henri of Navarre being Protestant, the Church would not open its doors to
+him, and thus his marriage to the talented but wicked Margot, sister of
+Charles IX., took place on a platform erected before its doors.
+
+In the opening chapter of "Marguerite de Valois," Dumas refers to it thus:
+
+"The court was celebrating the marriage of Madame Marguerite de Valois,
+daughter of Henri II. and sister of King Charles IX., with Henri de
+Bourbon, King of Navarre; and that same morning the Cardinal de Bourbon
+had united the young couple with the usual ceremonial observed at the
+marriages of the royal daughters of France, on a stage erected at the
+entrance to Notre Dame. This marriage had astonished everybody, and
+occasioned much surmise to certain persons who saw clearer than others.
+They could not comprehend the union of two parties who hated each other
+so thoroughly as did, at this moment, the Protestant party and the
+Catholic party; and they wondered how the young Prince de Conde could
+forgive the Duke d'Anjou, the king's father, for the death of his father,
+assassinated by Montesquieu at Jarnac. They asked how the young Duke de
+Guise could pardon Admiral de Coligny for the death of his father,
+assassinated at Orleans by Poltrot de Mere."
+
+
+[Illustration: _La Cite_]
+
+
+       *       *       *       *       *
+
+The Tour de Nesle is one of those bygones of the history of Paris, which
+as a name is familiar to many, but which, after all, is a very vague
+memory.
+
+It perpetuates an event of bloodshed which is familiar enough, but there
+are no tangible remains to mark the former site of the tower, and only the
+name remains--now given to a short and unimportant _rue_.
+
+The use of the title "La Tour de Nesle," by Dumas, for a sort of
+second-hand article,--as he himself has said,--added little to his
+reputation as an author, or, rather, as a dramatist.
+
+In reality, he did no more than rebuild a romantic drama, such as he alone
+knows how to build, out of the framework which had been unsuccessfully
+put together by another--Gaillardet. However, it gives one other
+historical title to add to the already long list of his productions.
+
+       *       *       *       *       *
+
+The history of the Conciergerie is most lurid, and, withal, most emphatic,
+with regard to the political history of France. For the most part, it is
+more associated with political prisoners than with mere sordid crime, as,
+indeed, to a great extent were many of the prisons of France.
+
+The summer tourist connects it with Marie Antoinette; visits the "Cachot
+de Marie Antoinette;" the great hall where the Girondists awaited their
+fate; and passes on to the Palais des Beaux Arts, with never a thought as
+to the great political part that the old prison played in the monarchial
+history of France.
+
+To know it more fully, one should read Nogaret's "Histoire des Prisons de
+Paris." There will be found anecdotes and memoirs, "_rares et precieux_"
+and above all truthful.
+
+It has been eulogized, or, rather, anathematized in verse by Voltaire,--
+
+  "Exterminez, grandes Dieux, de la terre ou nous sommes
+  Quiconque avec plaisir repand le sang des hommes,"--
+
+and historians and romancists have made profuse use of the recollections
+which hang about its grim walls.
+
+To-day it stands for much that it formerly represented, but without the
+terrible inquisitorial methods. In fact, in the Palais de Justice, which
+now entirely surrounds all but the turreted facade of tourelles, which
+fronts the Quai de l'Horloge, has so tempered its mercies that within the
+past year it has taken down that wonderful crucifix and triptych, so that
+those who may finally call upon the court of last appeal may not be unduly
+or superstitiously affected.
+
+The Place de la Greve opposite was famous for something more than its
+commercial reputation, as readers of the Valois romances of Dumas, and of
+Hugo's "Dernier Jour d'un Condamne" will recall. It was a veritable
+Gehenna, a sort of Tower Hill, where a series of events as dark and bloody
+as those of any spot in Europe held forth, from 1310, when a poor
+unfortunate, Marguerite Porette, was burned as a heretic, until
+1830,--well within the scope of this book,--when the headsmen, stakesmen,
+and hangmen, who had plied their trade here for five centuries, were
+abolished in favour of a less public _barriere_ on the outskirts, or else
+the platform of the prison near the Cimetiere du Pere la Chaise.
+
+It was in 1830 that a low thief and murderer, Lacenaire, who was brought
+to the scaffold for his crimes, published in one of the Parisian papers
+some verses which were intended to extract sympathy for him as _un homme
+de lettres_. In reality they were the work of a barrister, Lemarquier by
+name, and failed utterly of their purpose, though their graphic lines
+might well have evoked sympathy, had the hoax carried:
+
+  "Slow wanes the long night, when the criminal wakes;
+  And he curses the morn that his slumber breaks;
+        For he dream'd of other days.
+
+  "His eyes he may close,--but the cold icy touch
+  Of a frozen hand, and a corpse on his couch,
+        Still comes to wither his soul.
+
+  "And the headsman's voice, and hammer'd blows
+  Of nails that the jointed gibbet close,
+        And the solemn chant of the dead!"
+
+La Conciergerie was perhaps one of the greatest show-places of the city
+for the morbidly inclined, and permission _a visiter_ was at that time
+granted _avec toutes facilites_, being something more than is allowed
+to-day.
+
+The associations connected with this doleful building are great indeed, as
+all histories of France and the guide-books tell. It was in the chapel of
+this edifice that the victims of the Terror foregathered, to hear the
+names read out for execution, till all should have been made away.
+
+Mueller's painting in the Louvre depicts, with singular graphicness, this
+dreadful place of detention, where princes and princesses, counts,
+marquises, bishops, and all ranks were herded amid an excruciating agony.
+
+In "The Queen's Necklace" we read of the Conciergerie--as we do of the
+Bastille. When that gang of conspirators, headed by Madame de la
+Motte,--Jeanne de St. Remy de Valois,--appeared for trial, they were
+brought from the Bastille to the Conciergerie.
+
+After the trial all the prisoners were locked for the night in the
+Conciergerie, sentence not being pronounced till the following day.
+
+The public whipping and branding of Madame de la Motte in the Cour du
+Justice,--still the _cour_ where throngs pass and repass to the various
+court-rooms of the Palais de Justice,--as given by Dumas, is most
+realistically told, if briefly. It runs thus:
+
+"'Who is this man?' cried Jeanne, in a fright.
+
+"'The executioner, M. de Paris,' replied the registrar.
+
+"The two men then took hold of her to lead her out. They took her thus
+into the court called Cour de Justice, where was a scaffold, and which was
+crowded with spectators. On a platform, raised about eight feet, was a
+post garnished with iron rings, and with a ladder to mount to it. This
+place was surrounded with soldiers....
+
+"Numbers of the partisans of M. de Rohan had assembled to hoot her, and
+cries of '_A bas la Motte_, the forger!' were heard on every side, and
+those who tried to express pity for her were soon silenced. Then she cried
+in a loud voice, 'Do you know who I am? I am the blood of your kings. They
+strike in me, not a criminal, but a rival; not only a rival, but an
+accomplice. Yes,' repeated she, as the people kept silence to listen, 'an
+accomplice. They punish one who knows the secrets of--'
+
+"'Take care,' interrupted the executioner.
+
+"She turned and saw the executioner with the whip in his hand. At this
+sight she forgot her desire to captivate the multitude, and even her
+hatred, and, sinking on her knees, she said, 'Have pity!' and seized his
+hand; but he raised the other, and let the whip fall lightly on her
+shoulders. She jumped up, and was about to try and throw herself off the
+scaffold, when she saw the other man, who was drawing from a fire a hot
+iron. At this sight she uttered a perfect howl, which was echoed by the
+people.
+
+"'Help! help!' she cried, trying to shake off the cord with which they
+were tying her hands. The executioner at last forced her on her knees, and
+tore open her dress; but she cried, with a voice which was heard through
+all the tumult, 'Cowardly Frenchmen! you do not defend me, but let me be
+tortured; oh! it is my own fault. If I had said all I knew of the queen I
+should have been--'
+
+"She could say no more, for she was gagged by the attendants: then two men
+held her, while the executioner performed his office. At the touch of the
+iron she fainted, and was carried back insensible to the Conciergerie."
+
+
+
+
+CHAPTER XII.
+
+L'UNIVERSITE QUARTIER
+
+
+L'Universite is the _quartier_ which foregathered its components, more or
+less unconsciously, around the Sorbonne.
+
+To-day the name still means what it always did; the Ecole de Medicine, the
+Ecole de Droit, the Beaux Arts, the Observatoire, and the student ateliers
+of the Latin Quarter, all go to make it something quite foreign to any
+other section of Paris.
+
+The present structure known as "The Sorbonne" was built by Richelieu in
+1629, as a sort of glorified successor to the ancient foundation of Robert
+de Sorbonne, confessor to St. Louis in 1253. The present Universite, as an
+institution, was founded, among many other good and valuable things, which
+he has not always been given credit for, by the astute Napoleon I.
+
+       *       *       *       *       *
+
+With the work of the romancer, it is the unexpected that always happens.
+But this very unexpectedness is only another expression of naturalness;
+which raises the question: Is not the romancist more of a realist than is
+commonly supposed?
+
+Dumas often accomplished the unconventional, and often the miraculous, but
+the gallant attack of D'Artagnan and his three whilom adversaries against
+the Cardinal's Guard is by no means an impossible or unreasonable
+incident. Considering Dumas' ingenuity and freedom, it would be
+unreasonable to expect that things might not take the turn that they did.
+
+Of "Les Trois Mousquetaires" alone, the scheme of adventure and incident
+is as orderly and sagacious as though it had been laid down by the wily
+cardinal himself; and therein is Dumas' success as the romancist _par
+excellence_ of his time. A romancist who was at least enough of a realist
+to be natural, if unconventional.
+
+Dumas is supposed to have fallen from the heights scaled by means of "Les
+Trois Mousquetaires," when he wrote "Vingt Ans Apres." As a piece of
+literary workmanship, this perhaps is so; as a chronicle of great interest
+to the reader, who would trace the movement of its plot by existing stones
+and shrines, it is hardly the case.
+
+One can get up a wonderful enthusiasm for the old Luxembourg quarter,
+which the Gascon Don Quixote entered by one of the southern gates,
+astride his Rosinante. The whole neighbourhood abounds with reminiscences
+of the characters of the tale: D'Artagnan, with the Rue des Fossoyeurs,
+now the Rue Servandoni; Athos with the Rue Ferou; Aramis, with the Rue de
+la Harpe, and so on.
+
+There is, however, a certain tangible sentimentality connected with the
+adventures of Athos, Aramis, D'Artagnan, and Porthos in "Twenty Years
+After," that is not equalled by the earlier book, the reputed scenes of
+which have, to some extent, to be taken on faith.
+
+In "Vingt Ans Apres," the scene shifts rapidly and constantly: from the
+Rue Tiquetonne, in Paris, to the more luxurious precincts of the Palais
+Royal; countrywards to Compiegne, to Pierrefonds--which ultimately came
+into the possession of Porthos; to England, even; and southward as far as
+Blois in Touraine, near to which was the country estate of Athos.
+
+At the corner of the Rue Vaugirard, which passes the front of the
+Luxembourg Palace, and the Rue Cassette, is the wall of the Carmelite
+Friary, where D'Artagnan repaired to fulfil his duelling engagements with
+the three musketeers of the company of De Treville, after the incidents of
+the shoulder of Athos, the baldric of Porthos, and the handkerchief of
+Aramis.
+
+
+[Illustration: CARMELITE FRIARY, RUE VAUGIRARD]
+
+
+Both sides of the river, and, indeed, the Cite itself, are alive with the
+association of the King's Musketeers and the Cardinal's Guards; so much so
+that one, with even a most superficial knowledge of Paris and the
+D'Artagnan romances, cannot fail to follow the shifting of the scenes from
+the neighbourhood of the Palais du Luxembourg, in "Les Trois
+Mousquetaires," to the neighbourhood of the Palais Royal, in "Vingt Ans
+Apres" and the "Vicomte de Bragelonne."
+
+In "Le Vicomte de Bragelonne," the fraternal _mousquetaires_ take somewhat
+varying paths from those which they pursued in the first two volumes of
+the series. Porthos and Athos had arrived at distinction and wealth, and
+surrounded themselves accordingly; though, when they came to Paris, they
+were doubtless frequenters--at times--of their old haunts, but they had
+perforce to live up to their exalted stations.
+
+With D'Artagnan and Aramis this was not so true. D'Artagnan, it would
+seem, could not leave his beloved Palais Royal quarter, though his
+lodgings in the hotel in the Rue Tiquetonne could have been in no way
+luxurious, judging from present-day appearances.
+
+In the Universite quarter, running squarely up from the Seine is a short,
+unpretentious, though not unlovely, street--the Rue Guenegard.
+
+It runs by the Hotel de la Monnaie, and embouches on the Quai Conti, but
+if you ask for it from the average stroller on the quais, he will reply
+that he never heard of it.
+
+It was here, however, at "Au Grand Roi Charlemagne," "a respectable inn,"
+that Athos lived during his later years.
+
+In the course of three hundred years this inn has disappeared,--if it ever
+existed,--though there are two hotels, now somewhat decrepit, on the short
+length of the street.
+
+Perhaps it was one of these,--the present Hotel de France, for
+instance,--but there are no existing records to tell us beyond doubt that
+this is so.
+
+There is another inn which Dumas mentions in "The Forty-Five Guardsmen,"
+not so famous, and not traceable to-day, but his description of it is
+highly interesting and amusing.
+
+"Near the Porte Buci," says Chapter VII. of the book before mentioned,
+"where we must now transport our readers, to follow some of their
+acquaintances, and to make new ones, a hum, like that in a beehive at
+sunset, was heard proceeding from a house tinted rose colour, and
+ornamented with blue and white pointings, which was known by the sign of
+'The Sword of the Brave Chevalier,' and which was an immense inn, recently
+built in this new quarter. This house was decorated to suit all tastes. On
+the entablature was painted a representation of a combat between an
+archangel and a dragon breathing flame and smoke, and in which the artist,
+animated by sentiments at once heroic and pious, had depicted in the hands
+of 'the brave chevalier,' not a sword, but an immense cross, with which he
+hacked in pieces the unlucky dragon, of which the bleeding pieces were
+seen lying on the ground. At the bottom of the picture crowds of
+spectators were represented raising their arms to heaven, while from above
+angels were extending over the chevalier laurels and palms. Then, as if to
+prove that he could paint in every style, the artist had grouped around
+gourds, grapes, a snail on a rose, and two rabbits, one white and the
+other gray.
+
+"Assuredly the proprietor must have been difficult to please, if he were
+not satisfied, for the artist had filled every inch of space--there was
+scarcely room to have added a caterpillar. In spite, however, of this
+attractive exterior, the hotel did not prosper--it was never more than
+half full, though it was large and comfortable. Unfortunately, from its
+proximity to the Pre-aux-Clercs, it was frequented by so many persons
+either going or ready to fight, that those more peaceably disposed avoided
+it. Indeed, the cupids with which the interior was decorated had been
+ornamented with moustaches in charcoal by the _habitues_; and Dame
+Fournichon, the landlady, always affirmed that the sign had brought them
+ill-luck, and that, had her wishes been attended to, and the painting
+represented more pleasing things, such as the rose-tree of love surrounded
+by flaming hearts, all tender couples would have flocked to them.
+
+"M. Fournichon, however, stuck to his sign, and replied that he preferred
+fighting men, and that one of them drank as much as six lovers."
+
+Dumas' reference to this curiously disposed "happy family" calls to mind
+the anecdote which he recounts in "The Taking of the Bastille," concerning
+salamanders:
+
+"The famous trunk, which had now been dignified with the name of desk, had
+become, thanks to its vastness, and the numerous compartments with which
+Pitou had decorated its interior, a sort of Noah's ark, containing a
+couple of every species of climbing, crawling, or flying reptiles. There
+were lizards, adders, ant-eaters, beetles, and frogs, which reptiles
+became so much dearer to Pitou from their being the cause of his being
+subjected to punishment more or less severe.
+
+"It was in his walks during the week that Pitou made collections for his
+menagerie. He had wished for salamanders, which were very popular at
+Villers-Cotterets, being the crest of Francois I., and who had them
+sculptured on every chimneypiece in the chateau. He had succeeded in
+obtaining them; only one thing had strongly preoccupied his mind, and he
+ended by placing this thing among the number of those which were beyond
+his intelligence; it was, that he had constantly found in the water these
+reptiles which poets have pretended exist only in fire. This circumstance
+had given to Pitou, who was a lad of precise mind, a profound contempt for
+poets."
+
+       *       *       *       *       *
+
+Here, at "The Sword of the Brave Chevalier," first met the "Forty-Five
+Guardsmen." In the same street is, or was until recently, a modernized and
+vulgarized inn of similar name, which was more likely to have been an
+adaption from the pages of Dumas than a direct descendant of the original,
+if it ever existed. It is the Hotel la Tremouille, near the Luxembourg,
+that figures in the pages of "Les Trois Mousquetaires," but the hotel of
+the Duc de Treville, in the Rue du Vieux-Colombier, has disappeared in a
+rebuilding or widening of this street, which runs from the Place de St.
+Sulpice to the Place de la Croix-Rouge.
+
+All these places centre around that famous _affaire_ which took place
+before the Carmelite establishment on the Rue Vaugirard: that gallant
+sword-play of Athos, Porthos, and Aramis,--helped by the not unwilling
+D'Artagnan,--against Richelieu's minions, headed by Jussac.
+
+Within the immediate neighbourhood, too, is much of the _locale_ of "Les
+Trois Mousquetaires." Here the four friends themselves lodged, "just
+around the corner, within two steps of the Luxembourg," though Porthos
+more specifically claimed his residence as in the Rue de Vieux-Colombier.
+"That is my abode," said he, as he proudly pointed to its gorgeous
+doorway.
+
+The Hotel de Chevreuse of "_la Frondeuse duchesse_," famed alike in
+history and the pages of Dumas, is yet to be seen in somewhat changed form
+at No. 201 Boulevard St. Germain; its garden cut away by the Boulevard
+Raspail.
+
+At No. 12 or 14 Rue des Fossoyeurs, beside the Pantheon,--still much as it
+was of yore,--was D'Artagnan's own "sort of a garret." One may not be able
+to exactly place it, but any of the decrepitly picturesque houses will
+answer the description.
+
+       *       *       *       *       *
+
+It is a wonderfully varied and interesting collection of buildings which
+is found on the height of Ste. Genevieve, overlooking the Jardin and
+Palais du Luxembourg: the hybrid St. Etienne du Mont, the pagan Pantheon,
+the tower of the ancient Abbaye de Ste. Genevieve, and the Bibliotheque,
+which also bears the name of Paris's patron saint.
+
+The old abbey must have had many and varied functions, if history and
+romance are to be believed, and to-day its tower and a few short lengths
+of wall, built into the Lycee Henri Quatre, are all that remain, unless it
+be that the crypt and dungeons, of which one reads in "Chicot the Jester,"
+are still existent. Probably they are, but, if so, they have most likely
+degenerated into mere lumber-rooms.
+
+The incident as given by Dumas relates briefly to the plot of the Guises
+to induce Charles IX., on the plea of some religious ceremony, to enter
+one of the monkish _caches_, and there compel him to sign his abdication.
+The plot, according to the novelist, was frustrated by the ingenious
+Chicot.
+
+At all events, the ensemble to-day is one most unusual, and the whole
+locality literally reeks with the associations of tradition.
+
+Architecturally it is a jumble, good in parts, but again shocking in other
+parts.
+
+The Eglise St. Etienne du Mont is a weird contrast of architectural style,
+but its interior is truly beautiful, and on the wall near the south
+transept are two tablets, on which one may read the facts concerning Ste.
+Genevieve, which likely enough have for the moment been forgotten by most
+of us.
+
+The old abbey must have been a delightful place, in spite of the lurid
+picture which Dumas draws of it.
+
+       *       *       *       *       *
+
+Probably in none of Dumas' romances is there more lively action than in
+"The Queen's Necklace." The characters are in a continual migration
+between one and another of the faubourgs. Here, again, Dumas does not
+forget or ignore the Luxembourg and its environment. He seems, indeed, to
+have a special fondness for its neighbourhood. It was useful to him in
+most of the Valois series, and doubly so in the D'Artagnan romances.
+
+Beausire, one of the thieves who sought to steal the famous necklace,
+"took refuge in a small _cabaret_ in the Luxembourg quarter." The
+particular _cabaret_ is likely enough in existence to-day, as the event
+took place but a hundred years ago, and Dumas is known to have "drawn from
+life" even his pen-portraits of the _locale_ of his stories. At any rate,
+there is many a _cabaret_ near the Luxembourg which might fill the bill.
+
+The gardens of the Luxembourg were another favourite haunt of the
+characters of Dumas' romances, and in "The Queen's Necklace" they are made
+use of again, this time, as usual, as a suitable place for a promenade or
+a rendezvous of the fair Oliva, who so much resembled Marie Antoinette.
+
+       *       *       *       *       *
+
+Like the Rue du Helder, celebrated in "The Corsican Brothers," the Rue de
+Lille, where lived, at No. 29, De Franchi's friend, Adrien de Boissy, is
+possessed of an air of semi-luxuriousness, or, at any rate, of a certain
+middle-class comfort.
+
+It lies on the opposite side of the Seine from the river side of the
+Louvre, and runs just back of the site formerly occupied by the Duc de
+Montmorenci, where was held the gorgeous ceremony of the marriage of the
+Marquis St. Luc, of which one reads in "Chicot the Jester."
+
+There is not much of splendour or romance about the present-day Rue de
+Lille; indeed, it is rather commonplace, but as Dumas places the
+particular house in which De Boissy lived with definiteness, and,
+moreover, in that it exists to-day practically unaltered, there seems
+every good reason why it should be catalogued here.
+
+
+
+
+[Illustration: THE BUILDERS OF THE LOUVRE
+
+(1) Francois I., _1546_; (2) Catherine de Medici, _1566-1578_; (3)
+Catherine de Medici, _1564_ (destroyed at the Commune); (4) Louis XIII.,
+_1524_; (5) Louis XIV., _1660-1670_; (6) Napoleon I., _1806_; (7) Louis
+XVIII., _1816_; (8) Napoleon III., _1852-1857_; (9) Napoleon III.,
+_1863-1868_.]
+
+
+CHAPTER XIII.
+
+THE LOUVRE
+
+"_Paris renferme beaucoup de palais; mais le vrai palais de Paris, le vrai
+palais de la France, tout le monde l'a nomme,--c'est le Louvre._"
+
+
+Upon the first appearance of "Marguerite de Valois," a critic writing in
+_Blackwood's Magazine_, has chosen to commend Dumas' directness of plot
+and purpose in a manner which every lover of Dumas and student of history
+will not fail to appreciate. He says: "Dumas, according to his custom,
+introduces a vast array of characters, for the most part historical, all
+spiritedly drawn and well sustained. In various respects the author may be
+held up as an example to our own history-spoilers, and self-styled writers
+of historical romance. One does not find him profaning public edifices by
+causing all sorts of absurdities to pass, and of twaddle to be spoken,
+within their precincts; neither does he make his king and beggar,
+high-born dame and private soldier use the very same language, all
+equally tame, colourless, and devoid of character. The spirited and varied
+dialogue, in which his romances abound, illustrates and brings out the
+qualities and characteristics of his actors, and is not used for the sole
+purpose of making a chapter out of what would be better told in a page. In
+many instances, indeed, it would be difficult for him to tell his story,
+by the barest narrative, in fewer words than he does by pithy and pointed
+dialogue."
+
+No edifice in Paris itself, nor, indeed, in all France, is more closely
+identified with the characters and plots of Dumas' romances than the
+Louvre. In the Valois cycle alone, the personages are continually flocking
+and stalking thither; some mere puppets,--walking gentlemen and
+ladies,--but many more, even, who are personages so very real that even in
+the pages of Dumas one forgets that it is romance pure and simple, and is
+almost ready to accept his word as history. This it is not, as is well
+recognized, but still it is a pleasant manner of bringing before the
+omnivorous reader many facts which otherwise he might ignore or perhaps
+overlook.
+
+It really is not possible to particularize all the action of Dumas'
+romances which centred around the Louvre. To do so would be to write the
+mediaeval history of the famous building, or to produce an analytical index
+to the works of Dumas which would somewhat approach in bulk the celebrated
+Chinese encyclopaedia.
+
+We learn from "Le Vicomte de Bragelonne" of D'Artagnan's great familiarity
+with the life which went on in the old chateau of the Louvre. "I will tell
+you where M. d'Artagnan is," said Raoul; "he is now in Paris; when on
+duty, he is to be met at the Louvre; when not so, in the Rue des
+Lombards."
+
+This describes the situation exactly: when the characters of the
+D'Artagnan and the Valois romances are not actually within the precincts
+of the Louvre, they have either just left it or are about to return
+thither, or some momentous event is being enacted there which bears upon
+the plot.
+
+Perhaps the most dramatic incident in connection with the Louvre mentioned
+by Dumas, was that of the massacre of St. Bartholomew's night, "that
+bloody deed which culminated from the great struggle which devastated
+France in the latter part of the sixteenth century."
+
+Dumas throws in his lot with such historians as Ranke and Soldain, who
+prefer to think that the massacre which took place on the fete-day of St.
+Bartholomew was not the result of a long premeditated plot, but was
+rather the fruit of a momentary fanatical terror aroused by the
+unsuccessful attempt on the life of Coligny.
+
+This aspect is apart from the question. The principal fact with which the
+novelist and ourselves are concerned is that the event took place much as
+stated: that it was from the Louvre that the plot--if plot it
+were--emanated, and that the sounding bell of St. Germain l'Auxerrois did,
+on that fateful night, indicate to those present in the Louvre the fact
+that the bloody massacre had begun.
+
+The fabric itself--the work of many hands, at the instigation of so many
+minds--is an enduring monument to the fame of those who projected it, or
+who were memorialized thereby: Philippe-Auguste, Marie de Medici, Francois
+I., Charles IX., Henri IV., Louis XIV., Napoleon I.,--who did but little,
+it is true,--and Napoleon III.--who did much, and did it badly.
+
+Besides history, bloody deeds, and intrigue, there is also much of
+sentiment to be gathered from an observation of its walls; as witness the
+sculptures and decorations of Goujon and Lescot, the interlaced monogram
+G. H., of Henri and Gabrielle d'Estrees, and the superimposed crescents of
+the fair Diane de Poitiers. But such romances as these are best read in
+the pages of Dumas.
+
+"To the French the Louvre is more than a palace; it is a sanctuary," said
+an enthusiastic Frenchman. As such it is a shrine to be worshipped by
+itself, though it is pardonable to wish to know to-day just where and when
+the historic events of its career took place.
+
+One can trace the outline, in white marble, of the ancient Chateau du
+Louvre, in the easterly courtyard of the present establishment; can admire
+the justly celebrated eastern colonnade, though so defective was the
+architect in his original plans that it overlaps the side walls of the
+connecting buildings some dozen or more feet; can follow clearly all the
+various erections of monarchs and eras, and finally contemplate the tiny
+columns set about in the garden of the Tuileries, which mark all that is
+left of that ambitious edifice.
+
+The best description of the Tuileries by Dumas comes into the scene in
+"The Count of Monte Cristo," when Villefort,--who shares with Danglars and
+Fernand the distinction of being the villain of the piece,--after
+travelling with all speed from Marseilles to Paris, "penetrates the two or
+three apartments which precede it, and enters the small cabinet of the
+Tuileries with the arched window, so well known as having been the
+favourite cabinet of Napoleon and Louis XVIII., as also that of
+Louis-Philippe.
+
+"There, in this closet, seated before a walnut-tree table he had brought
+with him from Hartwell, and to which, from one of those fancies not
+uncommon to great people, he was particularly attached, the king, Louis
+XVIII., was carelessly listening to a man of fifty or fifty-two years of
+age, with gray hair, aristocratic bearing, and exceedingly gentlemanly
+attire, whilst he was making a note in a volume of Horace, Gryphius's
+edition, which was much indebted to the sagacious observations of the
+philosophical monarch."
+
+Of course, an author of to-day would have expressed it somewhat
+differently, but at the time in which Dumas wrote, the little cabinet did
+exist, and up to the time of the destruction of the palace, at the
+Commune, was doubtless as much of a showplace in its way as is the window
+of the Louvre from which Charles IX. was supposed to have fired upon the
+fleeing Huguenots--with this difference: that the cabinet had a real
+identity, while the window in question has been more recently ascertained
+as not having been built at the time of the event.
+
+       *       *       *       *       *
+
+Some one has mentioned Paris, the forgetter, as if modern Paris and its
+gay life--for assuredly it is gay, regardless of what the _blase_ folk
+may say or think--had entirely blotted out from its memory the horrors of
+St. Bartholomew's night, the tragedies of La Roquette, the Conciergerie,
+or the Bastille.
+
+This is so in a measure, however, though one has only to cross the square
+which lies before Les Halles, La Tour St. Jacques, or Notre Dame, to
+recall most vividly the tragedies which have before been enacted there.
+
+The Louvre literally reeks with the intrigue and bloodshed of political
+and religious warfare; and Dumas' picture of the murder of the admiral,
+and his version of the somewhat apocryphal incident of Charles IX. potting
+at the Protestant victims, with a specially made and garnished firearm, is
+sufficiently convincing, when once read, to suggest the recollections, at
+least, of the heartless act. From the Louvre it is but a step--since the
+Tuileries has been destroyed--to the Place de la Concorde.
+
+When this great square, now given over to bird-fanciers, automobilists,
+and photograph-sellers, was first cleared, it was known as the Place de la
+Revolution. In the later volumes of the Valois romances one reads of a
+great calendar of scenes and incidents which were consummated here. It is
+too large a list to even catalogue, but one will recollect that here, in
+this statue surrounded place, with playing fountains glittering in the
+sunlight, is buried under a brilliance--very foreign to its former
+aspect--many a grim tragedy of profound political purport.
+
+It was here that Louis XVI. said, "I die innocent; I forgive my enemies,
+and pray God to avert his vengeance for my blood, and to bless my people."
+To-day one sees only the ornate space, the _voitures_ and automobiles, the
+tricolour floating high on the Louvre, and this forgetful Paris, brilliant
+with sunlight, green with trees, beautified by good government, which
+offers in its _kiosks_, cafes, and theatres the fulness of the moment at
+every turn. Paris itself truly forgets, if one does not.
+
+       *       *       *       *       *
+
+The Louvre as it is known to-day is a highly intricate composition. Its
+various parts have grown, not under one hand, but from a common root,
+until it blossomed forth in its full glory when the western front of
+Catherine de Medici took form. Unfortunately, with its disappearance at
+the Commune the completeness of this elaborate edifice went for ever.
+
+One is apt to overlook the fact that the old Louvre, the _ancienne Palais
+du Louvre_, was a mediaeval battlemented and turreted structure, which bore
+little resemblance to the Louvre of to-day, or even that of Charles,
+Henri, Catherine, or Marguerite, of whom Dumas wrote in the Valois
+romances.
+
+
+[Illustration: THE GARDENS OF THE TUILERIES]
+
+
+The general ground-plan of the two distinct portions is the same, except
+for some minor additions of Napoleon I. and the connecting links built by
+Napoleon III., and many of the apartments are of course much the same, but
+there has been a general laying out of the courts anew, and tree-planting
+and grading of the streets and quais in the immediate neighbourhood; so
+much so that almost the entire aspect is changed. In spite of its
+compositeness, there is a certain aspect of uniformity of outline, though
+not of excellence of design.
+
+The only relics of the Palace of the Tuileries are the colonnettes set
+about in the garden and surmounted by gilded balls.
+
+
+
+
+CHAPTER XIV.
+
+THE PALAIS ROYAL
+
+
+It seems hardly necessary to more than mention the name of the Palais
+Royal, in connection with either the life or the writings of Alexandre
+Dumas, to induce a line of thought which is practically limitless. It was
+identified with Dumas' first employment in the capital, and it has been
+the scene of much of the action of both the D'Artagnan and the Valois
+romances.
+
+More than all else, however, though one is apt to overlook it somewhat, it
+is so closely identified with Richelieu that it is difficult to separate
+it from any event of French political history of the period.
+
+It was built by Richelieu in 1629, on the site occupied by the Hotels de
+Mercoeur and Rambouillet, and was originally intended to have borne the
+name of Hotel Richelieu. Toward 1634 it was enlarged, and was known as the
+Palais Cardinal. Finally it was presented, in 1642, to Louis XIII., and at
+his death came to Anne of Austria, when the royal family removed thither
+and it became known as the Palais Royal.
+
+The incident of the flight of the royal family and Mazarin to St. Germain
+is one of the historic and dramatic incidents which Dumas used as one of
+the events in which D'Artagnan participated.
+
+The court never returned to make use of the Palais Royal as a royal
+residence, and it became the refuge of Henriette de France, Queen of
+England and widow of Charles I. Thirty years later Louis XIV., who had
+fled from its walls when a child, gave it to his nephew Philippe
+d'Orleans, Duc de Chartres.
+
+It was during the _Regence_ that the famous _fetes_ of the Palais Royal
+were organized,--they even extended to what the unsympathetic have called
+orgies,--but it is certain that no town residences of kings were ever as
+celebrated for their splendid functions as was the Palais Royal in the
+seventeenth century.
+
+In 1763 a fire brought about certain reconstructions at the expense of the
+city of Paris. In 1781, it became again the prey of fire; and
+Philippe-Egalite, who was then Duc de Chartres, constructed the three vast
+galleries which surround the Palais of to-day.
+
+The _boutiques_ of the galleries were let to merchants of all manner of
+foibles, and it became the most lively quarter of Paris.
+
+The public adopted the galleries as fashionable promenades, which became,
+for the time, "_un bazar europeen et un rendez-vous d'affaires et de
+galanterie_."
+
+It was in 1783 that the Duc d'Orleans constructed "_une salle de
+spectacle_," which to-day is the Theatre du Palais Royal, and in the
+middle of the garden a _cirque_ which ultimately came to be transformed
+into a restaurant.
+
+The purely theatrical event of the history of the Palais Royal came on the
+13th of July, 1789, when at midday--as the _coup_ of a _petit canon_ rang
+out--a young unknown _avocat_, Camille Desmoulins, mounted a chair and
+addressed the throng of promenaders in a thrilling and vibrant voice:
+
+"_Citoyens, j'arrive de Versailles!_--Necker is fled and the Baron
+Breteuil is in his place. Breteuil is one of those who have demanded the
+head of Mirabeau ... there remains but one resource, and that 'to arms'
+and to wear the cockade that we may be known. _Quelle couleur
+voulez-vous?_"
+
+With almost a common accord the tricolour was adopted--and the next day
+the Bastille fell.
+
+
+[Illustration: The Orleans Bureau, Palais Royal]
+
+
+Dumas' account of the incident, taken from "The Taking of the Bastille,"
+is as follows:
+
+"During this time the procession kept on advancing; it had moved obliquely
+to the left, and had gone down the Rue Montmartre to the Place des
+Victoires. When it reached the Palais Royal some great impediment
+prevented its passing on. A troop of men with green leaves in their hats
+were shouting 'To arms!'
+
+"It was necessary to reconnoitre. Were these men who blocked up the Rue
+Vivienne friends or enemies? Green was the colour of the Count d'Artois.
+Why then these green cockades?
+
+"After a minute's conference all was explained.
+
+"On learning the dismissal of Necker, a young man had issued from the Cafe
+Foy, had jumped upon a table in the garden of the Palais Royal, and,
+taking a pistol from his breast, had cried 'To arms!'
+
+"On hearing this cry, all the persons who were walking there had assembled
+around him, and had shouted 'To arms!'
+
+"We have already said that all the foreign regiments had been collected
+around Paris. One might have imagined that it was an invasion by the
+Austrians. The names of these regiments alarmed the ears of all Frenchmen;
+they were Reynac, Salis Samade, Diesbach, Esterhazy, Roemer; the very
+naming of them was sufficient to make the crowd understand that they were
+the names of enemies. The young man named them; he announced that the
+Swiss were encamped in the Champs Elysees, with four pieces of artillery,
+and that they were to enter Paris the same night, preceded by the
+dragoons, commanded by Prince Lambesq. He proposed a new cockade which was
+not theirs, snatched a leaf from a chestnut-tree and placed it in the band
+of his hat. Upon the instant every one present followed his example. Three
+thousand persons had in ten minutes unleaved the trees of the Palais
+Royal.
+
+"That morning no one knew the name of that young man; in the evening it
+was in every mouth.
+
+"That young man's name was Camille Desmoulins."
+
+       *       *       *       *       *
+
+After 1793 the Palais Royal was converted, by decree, into the Palais et
+Jardin de la Revolution; and reunited to the domains of the state.
+Napoleon I. granted its use to the Tribunal for its seances, and Lucien
+Bonaparte inhabited it for the "Hundred Days." In 1830 Louis-Philippe, Duc
+d'Orleans, gave there a fete in honour of the King of Naples, who had come
+to pay his respects to the King of France. Charles X. assisted as an
+invited guest at the function, but one month after he had inhabited it as
+king.
+
+Under Napoleon III. the Palais Royal was the residence of Prince Jerome,
+the uncle of the emperor, afterward that of his son the Prince Napoleon,
+when the _fleur-de-lis_ sculptured on the facade gave way before
+escutcheons bearing the imperial eagles, which in turn have since given
+way to the Republican device of "'48"--"Liberte, Egalite, Fraternite."
+
+       *       *       *       *       *
+
+It is with a remarkable profusion of detail--for Dumas, at any rate--that
+the fourteenth chapter of "The Conspirators" opens.
+
+It is a veritable guide-book phraseology and conciseness, which describes
+the streets of the Palais Royal quarter:
+
+"The evening of the same day, which was Sunday, toward eight o'clock, at
+the moment when a considerable group of men and women, assembled around a
+street singer, who was playing at the same time the cymbals with his knees
+and the tambourine with his hands, obstructed the entrance to the Rue de
+Valois, a musketeer and two of the light horse descended a back staircase
+of the Palais Royal, and advanced toward the Passage du Lycee, which, as
+every one knows, opened on to that street; but seeing the crowd which
+barred the way, the three soldiers stopped and appeared to take counsel.
+The result of their deliberation was doubtless that they must take
+another route, for the musketeer, setting the example of a new
+manoeuvre, threaded the Cour des Fontaines, turned the corner of the Rue
+des Bons Enfants, and, walking rapidly,--though he was extremely
+corpulent,--arrived at No. 22, which opened as by enchantment at his
+approach, and closed again on him and his two companions.
+
+"... The crowd dispersed. A great many men left the circle, singly, or two
+and two, turning toward each other with an imperceptible gesture of the
+hand, some by the Rue de Valois, some by the Cour des Fontaines, some by
+the Palais Royal itself, thus surrounding the Rue des Bons Enfants, which
+seemed to be the centre of the rendezvous."
+
+The locality has not changed greatly since the times of which Dumas wrote,
+and if one would see for himself this Rue de Bons Enfants, Numero 22, and
+try to find out how the Regent of France was able to climb over the
+roof-tops to the Palais Royal, for a wager, he may still do so, for
+apparently the roof-tops have changed but little. The especial connection
+of the Rue des Bons Enfants with literature is perhaps Sylvestre's
+establishment, which will, for a price, sell you almost any French
+celebrity's autograph, be he king, prince, painter, or litterateur.
+
+In the "Vicomte de Bragelonne" there is a wonderfully interesting chapter,
+which describes Mazarin's gaming-party at the Palais Royal.
+
+In that it enters somewhat more into detail than is usual with Dumas, it
+appears worth quoting here, if only for its description of the furnishing
+of the _salle_ in which the event took place, and its most graphic and
+truthful picture of the great cardinal himself:
+
+"In a large chamber of the Palais Royal, covered with a dark-coloured
+velvet, which threw into strong relief the gilded frames of a great number
+of magnificent pictures, on the evening of the arrival of the two
+Frenchmen, the whole court was assembled before the alcove of M. le
+Cardinal de Mazarin, who gave a party, for the purposes of play, to the
+king and queen. A small screen separated three prepared tables. At one of
+these tables the king and the two queens were seated. Louis XIV., placed
+opposite to the young queen, his wife, smiled upon her with an expression
+of real happiness. Anne of Austria held the cards against the cardinal,
+and her daughter-in-law assisted her in her game, when she was not engaged
+in smiling at her husband. As for the cardinal, who was reclining on his
+bed, his cards were held by the Comtesse de Soissons, and he watched them
+with an incessant look of interest and cupidity.
+
+"The cardinal had been painted by Bernouin; but the rouge, which glowed
+only on his cheeks, threw into stronger contrast the sickly pallor of the
+rest of his countenance and the shining yellow of his brow. His eyes alone
+acquired a more lively expression from this auxiliary, and upon those sick
+man's eyes were, from time to time, turned the uneasy looks of the king,
+the queen, and the courtiers. The fact is, that the two eyes of Mazarin
+were the stars more or less brilliant in which the France of the
+seventeenth century read its destiny every evening and every morning.
+Monseigneur neither won nor lost; he was, therefore, neither gay nor sad.
+It was a stagnation in which, full of pity for him, Anne of Austria would
+not have willingly left him; but in order to attract the attention of the
+sick man by some brilliant stroke, she must have either won or lost. To
+win would have been dangerous, because Mazarin would have changed his
+indifference for an ugly grimace; to lose would likewise have been
+dangerous, because she must have cheated, and the Infanta, who watched her
+game, would, doubtless, have exclaimed against her partiality for Mazarin.
+Profiting by this calm, the courtiers were chatting. When not in a bad
+humour, M. de Mazarin was a very debonnaire prince, and he, who prevented
+nobody from singing, provided they paid, was not tyrant enough to prevent
+people from talking, provided they made up their minds to lose. They were
+chatting, then. At the first table, the king's younger brother, Philip,
+Duc d'Anjou, was admiring his handsome face in the glass of a box. His
+favourite, the Chevalier de Lorraine, leaning over the _fauteuil_ of the
+prince, was listening, with secret envy, to the Comte de Guiche, another
+of Philip's favourites, who was relating in choice terms the various
+vicissitudes of fortune of the royal adventurer, Charles II. He told, as
+so many fabulous events, all the history of his peregrinations in
+Scotland, and his terrors when the enemy's party was so closely on his
+track; of nights passed in trees, and days passed in hunger and combats.
+By degrees, the fate of the unfortunate king interested his auditors so
+greatly, that the play languished even at the royal table, and the young
+king, with a pensive look and downcast eye, followed, without appearing to
+give any attention to it, the smallest details of this Odyssey, very
+picturesquely related by the Comte de Guiche."
+
+       *       *       *       *       *
+
+Again mention of the Palais Royal enters into the action of "The Queen's
+Necklace." When Madame de la Motte and her companion were _en route_ to
+Versailles by cabriolet, "they met a delay at the gates of the Palais
+Royal, where, in a courtyard, which had been thrown open, were a host of
+beggars crowding around fires which had been lighted there, and receiving
+soup, which the servants of M. le Duc d'Orleans were distributing to them
+in earthen basins; and as in Paris a crowd collects to see everything, the
+number of the spectators of this scene far exceeded that of the actors.
+
+"Here, then, they were again obliged to stop, and, to their dismay, began
+to hear distinctly from behind loud cries of 'Down with the cabriolet!
+down with those that crush the poor!'
+
+"'Can it be that those cries are addressed to us?' said the elder lady to
+her companion.
+
+"'Indeed, madame, I fear so,' she replied.
+
+"'Have we, do you think, run over any one?'
+
+"'I am sure you have not.'
+
+"'To the magistrate! to the magistrate!' cried several voices.
+
+"'What in heaven's name does it all mean?' said the lady.
+
+"'The crowd reproaches you, madame, with having braved the police order
+which appeared this morning, prohibiting all cabriolets from driving
+through the streets until the spring.'"
+
+This must have been something considerable of an embargo on pleasure, and
+one which would hardly obtain to-day, though asphalted pavements covered
+with a film of frost must offer untold dangers, as compared with the
+streets of Paris as they were then--in the latter years of the eighteenth
+century.
+
+
+
+
+CHAPTER XV.
+
+THE BASTILLE
+
+
+The worshipper at the shrines made famous by Dumas--no less than
+history--will look in vain for the prison of La Roquette, the Bastille,
+the hotel of the Duc de Guise, at No. 12 Rue du Chaume, that of Coligny in
+the Rue de Bethusy, or of the Montmorencies, "near the Louvre."
+
+They existed, of course, in reality, as they did in the Valois romances,
+but to-day they have disappeared, and not even the "_Commission des
+Monuments Historiques_" has preserved a pictorial representation of the
+three latter.
+
+One of Dumas' most absorbing romances deals with the fateful events which
+culminated at the Bastille on the 14th Thermidor, 1789. "This monument,
+this seal of feudality, imprinted on the forehead of Paris," said Dumas,
+"was the Bastille," and those who know French history know that he wrote
+truly.
+
+The action of "The Taking of the Bastille," so far as it deals with the
+actual assault upon it, is brief. So was the event itself. Dumas romances
+but little in this instance; he went direct to fact for his details. He
+says:
+
+"When once a man became acquainted with the Bastille, by order of the
+king, that man was forgotten, sequestrated, interred, annihilated....
+
+"Moreover, in France there was not only one Bastille; there were twenty
+other Bastilles, which were called Fort l'Eveque, St. Lazare, the
+Chatelet, the Conciergerie, Vincennes, the Castle of La Roche, the Castle
+of If, the Isles of St. Marguerite, Pignerolles, etc.
+
+"Only the fortress at the Gate St. Antoine was called _the Bastille_, as
+_Rome_ was called _the_ city....
+
+"During nearly a whole century the governorship of the Bastille had
+continued in one and the same family.
+
+"The grandfather of this elect race was M. de Chateauneuf; his son
+Lavrilliere succeeded him, who, in turn, was succeeded by his grandson,
+St. Florentin. The dynasty became extinct in 1777....
+
+"Among the prisoners, it will be recollected, the following were of the
+greatest note:
+
+"The Iron Mask, Lauzun, Latude.
+
+"The Jesuits were connoisseurs; for greater security they confessed the
+prisoners.
+
+"For greater security still, the prisoners were buried under
+supposititious names.
+
+"The Iron Mask, it will be remembered, was buried under the name of
+Marchiali. He had remained forty-five years in prison.
+
+"Lauzun remained there fourteen years.
+
+"Latude, thirty years....
+
+"But, at all events, the Iron Mask and Lauzun had committed heinous
+crimes.
+
+"The Iron Mask, whether brother or not of Louis XIV., it is asserted,
+resembled King Louis XIV. so strongly, that it was almost impossible to
+distinguish the one from the other.
+
+"It is exceedingly imprudent to dare to resemble a king.
+
+"Lauzun had been very near marrying, or did actually marry, the Grande
+Mademoiselle.
+
+"It is exceedingly imprudent to dare to marry the niece of King Louis
+XIII., the granddaughter of Henri IV.
+
+"But Latude, poor devil, what had he done?
+
+"He had dared to fall in love with Mlle. Poisson, Dame de Pompadour, the
+king's mistress.
+
+"He had written a note to her.
+
+"This note, which a respectable woman would have sent back to the man who
+wrote it, was handed by Madame de Pompadour to M. de Sartines, the
+lieutenant-general of police."
+
+"To the Bastille!" was the cry upon which Dumas built up his story.
+
+"'To the Bastille!'
+
+"Only that it was a senseless idea, as the soldiers had remarked, that the
+Bastille could be taken.
+
+"The Bastille had provisions, a garrison, artillery.
+
+"The Bastille had walls, which were fifteen feet thick at their summit,
+and forty at their base.
+
+"The Bastille had a governor, whose name was De Launay, who had stored
+thirty thousand pounds of gunpowder in his cellars, and who had sworn, in
+case of being surprised by a _coup de main_, to blow up the Bastille, and
+with it half the Faubourg St. Antoine."
+
+Dumas was never more chary of tiresome description than in the opening
+chapters of this book. Chapter XVI. opens as follows:
+
+"We will not describe the Bastille--it would be useless.
+
+"It lives as an eternal image, both in the memory of the old and in the
+imagination of the young.
+
+"We shall content ourselves with merely stating, that, seen from the
+boulevard, it presented, in front of the square then called Place de la
+Bastille, two twin towers, while its two fronts ran parallel with the
+banks of the canal which now exists.
+
+"The entrance to the Bastille was defended, in the first place, by a
+guard-house, then by two lines of sentinels, and besides these by two
+drawbridges.
+
+"After having passed through these several obstacles, you came to the
+courtyard of the government-house--that is to say, the residence of the
+governor.
+
+"From this courtyard a gallery led to the ditches of the Bastille.
+
+"At this other entrance, which opened upon the ditches, was a drawbridge,
+a guard-house, and an iron gate."
+
+Then follow some pages of incident and action, which may be fact or may be
+fiction. The detail which comes after is picturesque and necessary to the
+plot:
+
+"The interior court, in which the governor was waiting for Billot, was the
+courtyard which served as a promenade to the prisoners. It was guarded by
+eight towers--that is to say, by eight giants. No window opened into it.
+Never did the sun shine on its pavement, which was damp and almost muddy.
+It might have been thought the bottom of an immense well.
+
+"In this courtyard was a clock, supported by figures representing
+enchained captives, which measured the hours, from which fell the regular
+and slow sounds of the minutes as they passed by, as in a dungeon the
+droppings from the ceiling eat into the pavement slabs on which they fall.
+
+"At the bottom of this well, the prisoner, lost amid the abyss of stone,
+for a moment contemplated its cold nakedness, and soon asked to be allowed
+to return to his room....
+
+"At the Bastille, all the places were sold to the highest bidder, from
+that of the governor himself, down to that of the scullion. The governor
+of the Bastille was a gaoler on a grand scale, an eating-house keeper
+wearing epaulets, who added to his salary of sixty thousand livres sixty
+thousand more, which he extorted and plundered....
+
+"M. de Launay, in point of avarice, far surpassed his predecessors. This
+might, perhaps, have arisen from his having paid more for the place, and
+having foreseen that he would not remain in it so long as they did.
+
+"He fed his whole house at the expense of his prisoners. He had reduced
+the quantity of firing, and doubled the hire of furniture in each room.
+
+"He had the right of bringing yearly into Paris a hundred pipes of wine,
+free of duty. He sold his right to a tavern-keeper, who brought in wines
+of excellent quality. Then, with a tenth part of this duty, he purchased
+the vinegar with which he supplied his prisoners."
+
+The rest of Dumas' treatment of the fall of the Bastille is of the
+historical kind. He does not blame De Launay for the fall, but by no means
+does he make a hero of him.
+
+"A flash of fire, lost in a cloud of smoke, crowned the summit of a tower;
+a detonation resounded; cries of pain were heard issuing from the closely
+pressed crowd; the first cannon-shot had been fired from the Bastille; the
+first blood had been spilled. The battle had commenced....
+
+"On hearing the detonation we have spoken of, the two soldiers who were
+still watching M. de Launay threw themselves upon him; a third snatched up
+the match, and then extinguished it by placing his heel upon it.
+
+"De Launay drew the sword which was concealed in his cane, and would have
+turned it against his own breast, but the soldiers seized it and snapped
+it in two.
+
+"He then felt that all he could do was to resign himself to the result; he
+therefore tranquilly awaited it.
+
+
+[Illustration: THE FALL OF THE BASTILLE]
+
+
+"The people rush forward; the garrison open their arms to them; and the
+Bastille is taken by assault--by main force, without a capitulation.
+
+"The reason for this was that, for more than a hundred years, the royal
+fortress had not merely imprisoned inert matter within its walls--it had
+imprisoned thought also. Thought had thrown down the walls of the
+Bastille, and the people entered by the breach."
+
+The life-history of the Bastille was more extended than was commonly
+recalled. Still the great incident in its life covered but fifteen short
+days,--from the 30th June to the 14th July, 1789,--when it fell before the
+attack of the Revolutionists. There is rather vague markings in the
+pavement on the Boulevard Henri Quatre and the Rue St. Antoine, which
+suggest the former limits of this gruesome building.
+
+It were not possible to catalogue all the scenes of action celebrated or
+perpetuated by Alexandre Dumas.
+
+In his "Crimes Celebres" he--with great definiteness--pictures dark scenes
+which are known to all readers of history; from that terrible affair of
+the Cenci, which took place on the terrace of the Chateau de Rocca
+Petrella, in 1598, to the assassination of Kotzebue by Karl Ludwig Sand in
+1819.
+
+Not all of these crimes deal with Paris, nor with France.
+
+The most notable was the poisoning affair of the Marquise de Brinvilliers
+(1676), who was forced to make the "_amende honorable_" after the usual
+manner, on the Parvis du Notre Dame, that little tree-covered place just
+before the west facade of the cathedral.
+
+The Chevalier Gaudin de Ste. Croix, captain of the Regiment de Tracy, had
+been arrested in the name of the king, by process of the "_lettre de
+cachet_" and forthwith incarcerated in the Bastille, which is once more
+made use of by Dumas, though in this case, as in many others, it is
+historic fact as well. The story, which is more or less one of conjugal
+and filial immorality, as well as political intrigue, shifts its scene
+once and again to the Cul-de-sac des Marchands des Chevaux, in the Place
+Maubert, to the Foret de l'Aigue--within four leagues of Compiegne, the
+Place du Chatelet, the Conciergerie, and the Bastille.
+
+Here, too, Dumas' account of the "question by water," or, rather, the
+notes on the subject, which accompanied the first (1839) edition of "Les
+Crimes Celebres," form interesting, if rather horrible, reading.
+
+Not alone in the Bastille was this horrible torture practised, but in most
+of the prisons of the time.
+
+"_Pour la 'question ordinaire,' quatre coquemars pleins d'eau, et
+contenant chacun deux pintes et demi, et pour 'la question extraordinaire'
+huit de meme grandeur._"
+
+This was poured into the victim through a funnel, which entered the mouth,
+and sooner or later drowned or stifled him or her, or induced confession.
+
+The final act and end of the unnatural Marquise de Brinvilliers took place
+at the Place de la Greve, which before and since was the truly celebrated
+place of many noted crimes, though in this case it was justice that was
+meted out.
+
+As a sort of sequel to "The Conspirators," Dumas adds "A Postscriptum,"
+wherein is recounted the arrest of Richelieu, as foreordained by Mlle. de
+Valois. He was incarcerated in the Bastille; but his captivity was but a
+new triumph for the crafty churchman.
+
+"It was reported that the handsome prisoner had obtained permission to
+walk on the terrace of the Bastille. The Rue St. Antoine was filled with
+most elegant carriages, and became, in twenty-four hours, the fashionable
+promenade. The regent--who declared that he had proofs of the treason of
+M. de Richelieu, sufficient to lose him four heads if he had them--would
+not, however, risk his popularity with the fair sex by keeping him long in
+prison. Richelieu, again at liberty, after a captivity of three months,
+was more brilliant and more sought after than ever; but the closet had
+been walled up, and Mlle. de Valois became Duchesse de Modena."
+
+Not only in the "Vicomte de Bragelonne" and "The Taking of the Bastille"
+does Dumas make mention of "The Man in the Iron Mask," but, to still
+greater length, in the supplementary volume, called in the English
+translations "The Man in the Iron Mask," though why it is difficult to
+see, since it is but the second volume of "The Vicomte de Bragelonne."
+
+This historical mystery has provided penmen of all calibres with an
+everlasting motive for argumentative conjecture, but Dumas without
+hesitancy comes out strongly for "a prince of the royal blood," probably
+the brother of Louis XIV.
+
+It has been said that Voltaire invented "the Man in the Iron Mask."
+
+There was nothing singular--for the France of that day--in the man
+himself, his offence, or his punishment; but the mask and the
+mystery--chiefly of Voltaire's creation--fascinated the public, as the
+veil of Mokanna fascinated his worshippers. Here are some of the
+Voltairean myths about this mysterious prisoner: One day he wrote
+something with his knife on a silver plate and threw it down to a
+fisherman, who took it to the governor of the prison. "Have you read it?"
+asked the governor, sternly. "I cannot read," replied the fisherman. "That
+has saved your life," rejoined the governor. Another day a young lad found
+beneath the prison tower a shirt written closely all over. He took it to
+the governor, who asked, anxiously. "Have you read it?" The boy again and
+again assured him that he had not. Nevertheless, two days later the boy
+was found dead in his bed. When the Iron Mask went to mass he was
+forbidden to speak or unmask himself on pain of being then and there shot
+down by the invalids, who stood by with loaded carbines to carry out the
+threat. Here are some of the personages the Iron Mask was supposed to be:
+An illegitimate son of Anne of Austria; a twin brother of Louis XIV., put
+out of the way by Cardinal Richelieu to avoid the risk of a disputed
+succession; the Count of Vermandois, an illegitimate son of Louis XIV.;
+Fouquet, Louis' minister; the Duke of Beaufort, a hero of the Fronde; the
+Duke of Monmouth, the English pretender; Avedick, the Armenian patriarch;
+and of late it has almost come to be accepted that he was Mattioli, a
+Piedmontese political prisoner, who died in 1703.
+
+Dumas, at any rate, took the plausible and acceptable popular solution;
+and it certainly furnished him with a highly fascinating theme for a
+romance, which, however, never apparently achieved any great popularity.
+
+"The clock was striking seven as Aramis passed before the Rue du Petit
+Muse and stopped at the Rue Tourelles, at the gateway of the Bastille....
+
+"Of the governor of the prison Aramis--now Bishop of Vannes--asked, 'How
+many prisoners have you? Sixty?'...
+
+"'For a prince of the blood I have fifty francs a day, ... thirty-six for
+a marechal de France, lieutenant-generals and brigadiers pay twenty-six
+francs, and councillors of parliament fifteen, but for an ordinary judge,
+or an ecclesiastic, I receive only ten francs.'"
+
+Here Dumas' knowledge and love of good eating again crops out. Continuing
+the dialogue between the bishop and the governor, he says:
+
+"'A tolerably sized fowl costs a franc and a half, and a good-sized fish
+four or five francs. Three meals a day are served, and, as the prisoners
+have nothing to do, they are always eating. A prisoner from whom I get
+ten francs costs me seven francs and a half.'
+
+"'Have you no prisoners, then, at less than ten francs?' queried Aramis.
+
+"'Oh, yes,' said the governor, 'citizens and lawyers.'
+
+"'But do they not eat, too?... Do not the prisoners leave some scraps?'
+continued Aramis.
+
+"'Yes, and I delight the heart of some poor little tradesman or clerk by
+sending him a wing of a red partridge, a slice of venison, or a slice of a
+truffled pasty, dishes which he never tasted except in his dreams (these
+are the leavings of the twenty-four-franc prisoners); and he eats and
+drinks, and at dessert cries, "Long live the king!" and blesses the
+Bastille. With a couple of bottles of champagne, which cost me five sous,
+I make him tipsy every Sunday. That class of people call down blessings
+upon me, and are sorry to leave the prison. Do you know that I have
+remarked, and it does me infinite honour, that certain prisoners, who have
+been set at liberty, have almost immediately afterward got imprisoned
+again? Why should this be the case, unless it be to enjoy the pleasures of
+my kitchen? It is really the fact.' Aramis smiled with an expression of
+incredulity."
+
+A visit to the prisoners themselves follows, but the reader of these
+lines is referred to "Le Vicomte de Bragelonne" for further details.
+
+The following few lines must suffice here:
+
+"The number of bolts, gratings, and locks for the courtyard would have
+sufficed for the safety of an entire city. Aramis was neither an
+imaginative nor a sensitive man; he had been somewhat of a poet in his
+youth, but his heart was hard and indifferent, as the heart of every man
+of fifty-five years of age is, who has been frequently and passionately
+attached to women in his lifetime, or rather who has been passionately
+loved by them. But when he placed his foot upon the worn stone steps,
+along which so many unhappy wretches had passed, when he felt himself
+impregnated, as it were, with the atmosphere of those gloomy dungeons,
+moistened with tears, there could be but little doubt he was overcome by
+his feelings, for his head was bowed and his eyes became dim, as he
+followed Baisemeaux, the governor, without uttering a syllable."
+
+Dumas gives a further description, of similar import, in "The Regent's
+Daughter:"
+
+"And now, with the reader's permission, we will enter the Bastille--that
+formidable building at which even the passing traveller trembled, and
+which, to the whole neighbourhood, was an annoyance and cause of alarm;
+for often at night the cries of the unfortunate prisoners who were under
+torture might be heard piercing the thick walls, so much so, that the
+Duchesse de Lesdequieres once wrote to the governor, that, if he did not
+prevent his patients from making such a noise, she should complain to the
+king.
+
+"At this time, however, under the reign of Philippe d'Orleans, there were
+no cries to be heard; the society was select, and too well bred to disturb
+the repose of a lady.
+
+"In a room in the Du Coin tower, on the first floor, was a prisoner
+alone.... He had, however, been but one day in the Bastille, and yet
+already he paced his vast chamber, examining the iron-barred doors,
+looking through the grated windows, listening, sighing, waiting....
+
+"A noise of bolts and creaking hinges drew the prisoner from this sad
+occupation, and he saw the man enter before whom he had been taken the day
+before. This man, about thirty years of age, with an agreeable appearance
+and polite bearing, was the governor, M. De Launay, father of that De
+Launay who died at his post in '89....
+
+"'M. de Chanlay,' said the governor, bowing, 'I come to know if you have
+passed a good night, and are satisfied with the fare of the house and the
+conduct of the employes'--thus M. De Launay, in his politeness, called the
+turnkeys and jailors.
+
+"'Yes, monsieur; and these attentions paid to a prisoner have surprised
+me, I own.'
+
+"'The bed is hard and old, but yet it is one of the best; luxury being
+forbidden by our rules. Your room, monsieur, is the best in the Bastille;
+it has been occupied by the Duc d'Angouleme, by the Marquis de
+Bassompierre, and by the Marshals de Luxembourg and Biron; it is here that
+I lodge the princes when his Majesty does me the honour to send them to
+me.'
+
+"'It is an excellent lodging,' said Gaston, smiling, 'though ill
+furnished; can I have some books, some paper, and pens?'
+
+"'Books, monsieur, are strictly forbidden; but if you very much wish to
+read, as many things are allowed to a prisoner who is _ennuye_, come and
+see me, then you can put in your pocket one of those volumes which my wife
+or I leave about; you will hide it from all eyes; on a second visit you
+will take the second volume, and to this abstraction we will close our
+eyes.'
+
+"'And paper, pens, ink?' said Gaston. 'I wish most particularly to write.'
+
+"'No one writes here, monsieur; or, at least, only to the king, the
+regent, the minister, or to me; but they draw, and I can let you have
+drawing-paper and pencils.'"
+
+All of the above is the authenticated fact of history, as written records
+prove, but it is much better told by Dumas, the novelist, than by most
+historians.
+
+Still other evidence of the good things set before the guests at the
+"Hotel de la Bastille" is shown by the following. If Dumas drew the facts
+from historical records, all well and good; if they were menus composed by
+himself,--though unconventional ones, as all _bon vivants_ will
+know,--why, still all is well.
+
+"'A fifteen-franc boarder does not suffer, my lord,' said De
+Baisemeaux.--'He suffers imprisonment, at all events.'--'No doubt, but his
+suffering is sweetened for him. You must admit this young fellow was not
+born to eat such things as he now has before him. A pasty; crayfish from
+the river Marne--almost as big as lobsters; and a bottle of Volnay.'"
+
+The potency of the Bastille as a preventative, or, rather, a fit
+punishment for crime, has been nowhere more effectually set forth than by
+the letter which Cagliostro wrote from London (in the "Queen's Necklace").
+
+In this letter, after attacking king, queen, cardinal, and even M. de
+Breteuil, Cagliostro said: "Yes, I repeat, now free after my imprisonment,
+there is no crime that would not be expiated by six months in the
+Bastille. They ask me if I shall ever return to France. Yes, I reply, when
+the Bastille becomes a public promenade. You have all that is necessary to
+happiness, you Frenchmen; a fertile soil and genial climate, good hearts,
+gay tempers, genius, and grace. You only want, my friends, one little
+thing--to feel sure of sleeping quietly in your beds when you are
+innocent."
+
+To-day "The Bastille," as it is commonly known and referred to, meaning
+the Place de la Bastille, has become a public promenade, and its bygone
+terrors are but a memory.
+
+
+
+
+CHAPTER XVI.
+
+THE ROYAL PARKS AND PALACES
+
+
+Since the romances of Dumas deal so largely with Paris, it is but natural
+that much of their action should take place at the near-by country
+residences of the royalty and nobility who form the casts of these great
+series of historical tales.
+
+To-day Fontainebleau, St. Germain, Versailles, and even Chantilly,
+Compiegne, and Rambouillet are but mere attractions for the tourist of the
+butterfly order. The real Parisian never visits them or their precincts,
+save as he rushes through their tree-lined avenues in an automobile; and
+thus they have all come to be regarded merely as monuments of splendid
+scenes, which have been played, and on which the curtain has been rung
+down.
+
+This is by no means the real case, and one has only to read Dumas, and do
+the round of the parks and chateaux which environ Paris, to revivify many
+of the scenes of which he writes.
+
+Versailles is the most popular, Fontainebleau the most grand, St. Germain
+the most theatrical, Rambouillet the most rural-like, and Compiegne and
+Chantilly the most delicate and dainty.
+
+Still nearer to Paris, and more under the influence of town life, were the
+chateaux of Madrid in the Bois de Boulogne, and of Vincennes, at the other
+extremity of the city.
+
+All these are quite in a class by themselves; though, of course, in a way,
+they performed the same functions when royalty was in residence, as the
+urban palaces.
+
+Dumas' final appreciation of the charms of Fontainebleau does not come
+till one reaches the last pages of "Le Vicomte de Bragelonne." True, it
+was not until the period of which this romance deals with Fontainebleau,
+its chateau, its _foret_, and its fetes, actually came to that prominence
+which to this day has never left them.
+
+When the king required to give his fete at Fontainebleau, as we learn from
+Dumas, and history, too, he required of Fouquet four millions of francs,
+"in order to keep an open house for fifteen days," said he. How he got
+them, and with what result, is best read in the pages of the romance.
+
+"Life at the Palais Royal having become somewhat tame, the king had
+directed that Fontainebleau should be prepared for the reception of the
+court." Here, then, took place the fetes which were predicted, and Dumas,
+with his usual directness and brilliance, has given us a marvellous
+description of the gaiety of court life, surrounded by the noble forest,
+over which artists and sentimentalists have ever rhapsodized.
+
+Continuing, from the pages of Dumas which immediately follow, one reads:
+
+"For four days, every kind of enchantment brought together in the
+magnificent gardens of Fontainebleau, had converted this spot into a place
+of the most perfect enjoyment. M. Colbert seemed gifted with ubiquity. In
+the morning, there were the accounts of the previous night's expenses to
+settle; during the day, programmes, essays, enlistments, payments. M.
+Colbert had amassed four millions of francs, and dispersed them with a
+prudent economy. He was horrified at the expenses which mythology
+involved; every wood-nymph, every dryad, did not cost less than a hundred
+francs a day. The dresses alone amounted to three hundred francs. The
+expense of powder and sulphur for fireworks amounted, every night, to a
+hundred thousand francs. In addition to these, the illuminations on the
+borders of the sheet of water cost thirty thousand francs every evening.
+The fetes had been magnificent; and Colbert could not restrain his
+delight. From time to time he noticed Madame and the king setting forth on
+hunting expeditions, or preparing for the reception of different fantastic
+personages, solemn ceremonials, which had been extemporized a fortnight
+before, and in which Madame's sparkling wit and the king's magnificence
+were equally displayed."
+
+The "Inn of the Beautiful Peacock," celebrated by Dumas in "Le Vicomte de
+Bragelonne," is not directly traceable to-day in the many neighbouring
+hostelries of Fontainebleau. Just what Dumas had in mind is vague, though
+his description might apply to any house for travellers, wherever it may
+have been situated in this beautiful wildwood.
+
+It was to this inn of the "Beau Paon" that Aramis repaired, after he had
+left Fouquet and had donned the costume of the cavalier once more.
+"Where," said Dumas, "he (Aramis) had, by letters previously sent,
+directed an apartment or a room to be retained for him. He chose the room,
+which was on the first floor, whereas the apartment was on the second."
+
+The description of the establishment given by Dumas is as follows:
+
+"In the first place, let us supply our readers with a few details about
+the inn called the Beau Paon. It owed its name to its sign, which
+represented a peacock spreading out its tail. But, in imitation of some
+painters who had bestowed the face of a handsome young man upon the
+serpent which tempted Eve, the painter of this sign had conferred upon the
+peacock the features of a woman. This inn, a living epigram against that
+half of the human race which renders existence delightful, was situated at
+Fontainebleau, in the first turning on the left-hand side, which divides
+on the road from Paris, that large artery which constitutes in itself
+along the entire town of Fontainebleau. The side street in question was
+then known as the Rue de Lyon, doubtless because geographically it
+advanced in the direction of the second capital of the kingdom."
+
+Lyons itself is treated by Dumas at some length in "Chicot the Jester,"
+particularly with reference to Chicot's interception of the Pope's
+messenger, who brought the documents which were to establish the Duc de
+Guise's priority as to rights to the throne of France.
+
+"The inn of the Beau Paon had its principal front toward the main street;
+but upon the Rue de Lyon there were two ranges of buildings, divided by
+courtyards, which comprised sets of apartments for the reception of all
+classes of travellers, whether on foot or on horseback, or even with
+their own carriages, and in which could be supplied, not only board and
+lodging, but also accommodation for exercise or opportunities of solitude
+for even the wealthiest courtiers, whenever, after having received some
+check at the court, they wished to shut themselves up with their own
+society, either to devour an affront or to brood over their revenge. From
+the windows of this part of the building the travellers could perceive, in
+the first place, the street with the grass growing between the stones,
+which were being gradually loosened by it; next, the beautiful hedges of
+elder and thorn, which embraced, as though within two green and flowering
+arms, the houses of which we have spoken; and then, in the spaces between
+those houses, forming the groundwork of the picture, and appearing like an
+almost impassable barrier, a line of thick trees, the advanced sentinels
+of the vast forest, which extends itself in front of Fontainebleau."
+
+On the road to Versailles, where the Seine is crossed by the not beautiful
+Pont de Sevres, is the little inn of the Bridge of Sevres, in which the
+story of "La Comtesse de Charny" opens, and, indeed, in which all its
+early action takes place. The inn, or even its direct descendant, is not
+discernible to-day. The Pont de Sevres is there, linking one of those
+thumblike peninsulas made by the windings of the Seine with the Bois de
+Meudon, and the traffic inward and outward from Paris is as great and
+varied as it always was, probably greater, but there is no inn to suggest
+that which Dumas had in mind. The rural aspect is somewhat changed, the
+towering stacks of the china-factory chimneys, the still more
+towering--though distant--Tour Eiffel, which fortunately is soon to be
+razed, and the iron rails of the "Ceinture" and the "Quest," all tend to
+estrange one's sentiments from true romance.
+
+
+[Illustration: INN OF THE PONT DE SEVRES]
+
+
+Farther on to the westward lies Versailles, with its theatrical, though
+splendid, _palais_ and _parc_, the Trianons and Les Grandes Eaux, beloved
+by the tourist and the Parisian alike.
+
+Still farther to the northward by the same road is the pretty town of St.
+Germain-en-Laye, with the remains of its Chateau Neuf, once the most
+splendid and gorgeous country residence of Henri II. and Henri IV.,
+continuing, also, in the favour of the court until the birth here of Louis
+XIV. James II. of England made his residence here after his exile.
+
+Dumas' references to St. Germain are largely found in "Vingt Ans Apres."
+
+It was near St. Germain, too, that Dumas set about erecting his famous
+"Chatelet du Monte Cristo." In fact, he did erect it, on his usual
+extravagant ideas, but his tenure there was short-lived, and, altogether,
+it was not a creditable undertaking, as after-events proved.
+
+The gaiety of the life at St. Germain departed suddenly, but it is said of
+Dumas' life there, that he surrounded himself with a coterie which bespoke
+somewhat its former abandon and luxuriance. It was somewhat of a Bohemian
+life that he lived there, no doubt, but it was not of the sordid or humble
+kind; it was most gorgeous and extravagant.
+
+Of all the royal parks and palaces in the neighbourhood of Paris,
+Versailles has the most popularly sentimental interest. A whim of Louis
+XIV., it was called by Voltaire "an abyss of expense," and so it truly
+was, as all familiar with its history know.
+
+In the later volumes of Dumas' "La Comtesse de Charnay," "The Queen's
+Necklace," and "The Taking of the Bastille," frequent mention is made but
+he does not write of it with the same affection that he does of
+Fontainebleau or St. Germain. The details which Dumas presents in "The
+Taking of the Bastille" shows this full well.
+
+"At half-past ten, in ordinary times, every one in Versailles would have
+been in bed and wrapped in the profoundest slumber; but that night no eye
+was closed at Versailles. They had felt the counter-shock of the terrible
+concussion with which Paris was still trembling.
+
+"The French Guards, the body-guards, the Swiss drawn up in platoons, and
+grouped near the openings of all the principal streets, were conversing
+among themselves, or with those of the citizens whose fidelity to the
+monarchy inspired them with confidence.
+
+"For Versailles has, at all times, been a royalist city. Religious respect
+for the monarchy, if not for the monarch, is engrafted in the hearts of
+its inhabitants, as if it were a quality of its soil. Having always lived
+near kings, and fostered by their bounty, beneath the shade of their
+wonders--having always inhaled the intoxicating perfume of the
+_fleurs-de-lis_, and seen the brilliant gold of their garments, and the
+smiles upon their august lips, the inhabitants of Versailles, for whom
+kings have built a city of marble and porphyry, feel almost kings
+themselves; and even at the present day, even now, when moss is growing
+around the marble, and grass is springing up between the slabs of the
+pavement, now that gold has almost disappeared from the wainscoting, and
+that the shady walks of the parks are more solitary than a graveyard,
+Versailles must either belie its origin, or must consider itself as a
+fragment of the fallen monarchy, and no longer feeling the pride of power
+and wealth, must at least retain the poetical associations of regret, and
+the sovereign charms of melancholy. Thus, as we have already stated, all
+Versailles, in the night between the 14th and 15th July, 1789, was
+confusedly agitated, anxious to ascertain how the King of France would
+reply to the insult offered to the throne, and the deadly wound inflicted
+on his power."
+
+Versailles was one of the latest of the royal palaces, and since its
+birth, or at least since the days of "personally" and "non-conducted"
+tourists, has claimed, perhaps, even more than its share of popular
+favour. Certainly it is a rare attraction, and its past has been in turn
+sad, gay, brilliant, and gloomy. Event after event, some significant,
+others unimportant, but none mean or sordid, have taken place within its
+walls or amid its environment. Dumas evidently did not rank its beauties
+very high,--and perhaps rightly,--for while it is a gorgeous fabric and
+its surroundings and appointments are likewise gorgeous, it palls
+unmistakably by reason of its sheer artificiality. Dumas said much the
+same thing when he described it as "that world of automata, of statues,
+and boxwood forests, called Versailles."
+
+Much of the action of "The Queen's Necklace" takes place at Versailles,
+and every line relating thereto is redolent of a first-hand observation on
+the part of the author. There is no scamping detail here, nor is there any
+excess of it.
+
+With the fourth chapter of the romance, when Madame de la Motte drove to
+Versailles in her cabriolet, "built lightly, open, and fashionable, with
+high wheels, and a place behind for a servant to stand," begins the record
+of the various incidents of the story, which either took place at
+Versailles or centred around it.
+
+"'Where are we to go?' said Weber, who had charge of madame's
+cabriolet.--'To Versailles.'--'By the boulevards?'--'No.'... 'We are at
+Versailles,' said the driver. 'Where must I stop, ladies?'--'At the Place
+d'Armes.'" "At this moment," says Dumas, in the romance, "our heroines
+heard the clock strike from the church of St. Louis."
+
+Dumas' descriptions of Versailles are singularly complete, and without
+verboseness. At least, he suggests more of the splendours of that gay
+residence of the court than he actually defines, and puts into the mouths
+of his characters much that others would waste on mere descriptive matter.
+
+In the chapter headed Vincennes, in "Marguerite de Valois," Dumas gives a
+most graphic description of its one-time chateau-prison:
+
+"According to the order given by Charles IX., Henri was the same evening
+conducted to Vincennes, that famous castle of which only a fragment now
+remains, but colossal enough to give an idea of its past grandeur.
+
+"At the postern of the prison they stopped. M. de Nancey alighted from his
+horse, opened the gate closed with a padlock, and respectfully invited the
+king to follow him. Henri obeyed without a word of reply. Every abode
+seemed to him more safe than the Louvre, and ten doors, closing on him at
+the same time, were between him and Catherine de Medici.
+
+"The royal prisoner crossed the drawbridge between two soldiers, passed
+the three doors on the ground floor and the three doors at the foot of the
+staircase, and then, still preceded by M. de Nancey, went up one flight of
+stairs. Arrived there, Captain de Nancey requested the king to follow him
+through a kind of corridor, at the extremity of which was a very large and
+gloomy chamber.
+
+"Henri looked around him with considerable disquietude.
+
+"'Where are we?' he inquired.
+
+"'In the chamber of torture, monseigneur.'
+
+"'Ah, ah!' replied the king, looking at it attentively.
+
+"There was something of everything in this apartment: pitchers and
+trestles for the torture by water; wedges and mallets for the question of
+the boot; moreover, there were stone benches for the unhappy wretches who
+awaited the question, nearly all around the chamber; and above these
+seats, and to the seats themselves, and at the foot of these seats, were
+iron rings, mortised into the walls with no symmetry but that of the
+torturing art.
+
+"'Ah, ah!' said Henri, 'is this the way to my apartment?'
+
+"'Yes, monseigneur, and here it is,' said a figure in the dark, who
+approached and then became distinguishable.
+
+"Henri thought he recognized the voice, and, advancing toward the
+individual, said, 'Ah, is it you, Beaulieu? And what the devil do you do
+here?'
+
+"'Sire, I have been nominated governor of the fortress of Vincennes.'
+
+"'Well, my dear sir, your debut does you honour; a king for a prisoner is
+no bad commencement.'
+
+"'Pardon me, Sire, but before I received you I had already received two
+gentlemen.'
+
+"'Who may they be? Ah! your pardon; perhaps I commit an indiscretion.'
+
+"'Monseigneur, I have not been bound to secrecy. They are M. de la Mole
+and M. de Coconnas.'
+
+"'Poor gentlemen! And where are they?'
+
+"'High up, in the fourth floor.'
+
+"Henri gave a sigh. It was there he wished to be.
+
+"'Now, then, M. de Beaulieu,' said Henri, 'have the kindness to show me my
+chamber. I am desirous of reaching it, as I am very much fatigued with my
+day's toil.'
+
+"'Here, monseigneur,' said Beaulieu, showing Henri an open door.
+
+"'No. 2!' said Henri. 'And why not No. 1?'
+
+"'Because it is reserved, monseigneur.'
+
+"'Ah! that is another thing,' said Henri, and he became even more pensive.
+
+"He wondered who was to occupy No. 1.
+
+"The governor, with a thousand apologies, installed Henri in his
+apartment, made many excuses for his deficiencies, and, placing two
+soldiers at the door, retired.
+
+"'Now,' said the governor, addressing the turnkey, 'let us visit the
+others.'"
+
+       *       *       *       *       *
+
+The present aspect of St. Germain-en-Laye is hardly what it was in the
+days of which Dumas wrote in "Marguerite de Valois" or in "Vingt Ans
+Apres." Le Bois or Le Foret looks to-day in parts, at least--much as it
+did in the days when royalty hunted its domain, and the glorious facade
+chateau has endured well.
+
+Beyond this, the romance and history have well-nigh evaporated into air.
+The whole neighbourhood is quite given over to a holiday, pleasure-making
+crowd, which, though it is typically French, and therefore interesting, is
+little in keeping with the splendid scenes of its past.
+
+To-day peasants from Brittany, heavily booted cavalry and artillery,
+_ouvriers_, children and nursemaids, and _touristes_ of all nationalities
+throng the _allees_ of the forest and the corridors of the chateau, where
+once royalty and its retainers held forth.
+
+Vesinet, on the road from Paris to St. Germain,--just before one reaches
+Pecq, and the twentieth-century _chemin-de-fer_ begins to climb that long,
+inclined viaduct, which crosses the Seine and rises ultimately to the
+platform on which sits the Vieux Chateau,--was a favourite hawking-ground
+of Charles IX. Indeed, it was here that that monarch was warned of "a
+fresh calumny against his poor Harry" (Henri de Navarre), as one reads in
+the pages of "Marguerite de Valois."
+
+A further description follows of Charles' celebrated falcon, Bec de Fer,
+which is assuredly one of the most extraordinary descriptions of a
+hunting-scene extant in the written page of romance.
+
+Much hunting took place in all of Dumas' romances, and the near-by forests
+of France, _i. e._, near either to Paris or to the royal residences
+elsewhere, were the scenes of many gay meetings, where the stag, the boar,
+the _cerf_, and all manner of footed beasts and winged fowl were hunted in
+pure sport; though, after all, it is not recorded that it was as brutal a
+variety as the _battues_ of the present day.
+
+St. Germain, its chateau and its _foret_, enters once and again, and
+again, into both the Valois series and the Mousquetaire romances. Of all
+the royal, suburban palaces, none have been more admired and loved for its
+splendid appointments and the splendid functions which have taken place
+there, than St. Germain.
+
+It had early come into favour as the residence of the French kings, the
+existing chapel being the foundation of St. Louis, while the Chateau Neuf
+was built mainly by Henri II. To-day but a solitary _pavillon_--that known
+as Henri IV.--remains, while the Vieux Chateau, as it was formerly known,
+is to-day acknowledged as _the_ Chateau.
+
+The most significant incident laid here by Dumas, is that of the flight of
+Anne of Austria, Louis XIV., and the court, from Paris to the Chateau of
+St. Germain. This plan was amplified, according to Dumas, and furthered
+by D'Artagnan and Athos; and since it is an acknowledged fact of history,
+this points once again to the worth of the historical romance from an
+exceedingly edifying view-point. At the time of the flight Louis was but a
+mere boy, and it may be recalled here that he was born at St. Germain in
+1638.
+
+The architectural glories of St. Germain are hardly so great as to warrant
+comparison with Versailles, to which Louis subsequently removed his court;
+indeed, the Chateau Neuf, with the exception of the _pavillon_ before
+mentioned, is not even a dignified ruin, being but scattered piles of
+debris, which, since 1776, when the structure was razed, have been left
+lying about in most desultory fashion.
+
+The Vieux Chateau was made use of by the great Napoleon as a sort of a
+barracks, and again as a prison, but has since been restored according to
+the original plans of the architect Ducercen, who, under Francois I., was
+to have carried it to completion.
+
+Once St. Germain was the home of royalty and all the gaiety of the court
+life of the Louis, and once again it was on the eve of becoming the
+fashionable Paris suburb, but now it is the resort of "trippers," and its
+chateau, or what was left of it after the vandalism of the eighteenth
+century, is a sad ruin, though the view from its heights is as lovely as
+ever--that portion which remains being but an aggravation, when one
+recalls the glories that once were. Save the Vieux Chateau, all that is
+left is the lovely view. Paris-wards one sees a panorama--a veritable
+_vol-d'oiseaux_--of the slender, silvery loops of the Seine as it bends
+around Port Marly, Argenteuil, Courbevoie, St. Denis, and St. Cloud; while
+in the dimmest of the dim distance the Eiffel Tower looms all its ugliness
+up into the sky, and the domed heights of Montmartre and the Buttes
+Chaumont look really beautiful--which they do not on closer view.
+
+The height of St. Germain itself--the _ville_ and the chateau--is not so
+very great, and it certainly is not giddy, which most of its frequenters,
+for one reason or another, are; but its miserable _pave_ is the curse of
+all automobilists, and the sinuous road which ascends from the Pont du
+Pecq is now "rushed," up and down, by motor-cars, to the joy of the
+native, when one gets stalled, as they frequently do, and to the danger to
+life and limb of all other road-users and passers-by.
+
+       *       *       *       *       *
+
+In all of the Valois cycle, "_la chasse_" plays an important part in the
+pleasure of the court and the noblesse. The forests in the
+neighbourhood of Paris are numerous and noted.
+
+
+[Illustration: FORET DE VILLERS-COTTERETS]
+
+[Illustration: BOIS DE VINCENNES]
+
+[Illustration: BOIS DE BOULOGNE]
+
+
+At Villers-Cotterets, Dumas' birthplace, is the Foret de
+Villers-Cotterets, a dependence of the Valois establishment at Crepy.
+
+Bondy, Fontainebleau, St. Germain, Vincennes, and Rambouillet are all
+mentioned, and are too familiar to even casual travellers to warrant the
+inclusion of detailed description here.
+
+Next to Fontainebleau, whose present-day fame rests with the artists of
+the Barbizon school, who have perpetuated its rocks and trees, and St.
+Germain, which is mostly revered for the past splendour of its chateau,
+Rambouillet most frequently comes to mind.
+
+Even Republican France has its national hunt yearly, at Rambouillet, and
+visiting monarchs are invariably expected to partake in the shooting.
+
+Rambouillet, the _hameau_ and the _foret_, was anciently under the feudal
+authority of the Comtes de Montford, afterward (1300) under Regnault
+d'Augennes, Capitaine du Louvre under Charles VI., and still later under
+Jacques d'Augennes, Capitaine du Chateau de Rambouillet in 1547. Louis
+XVI. purchased the chateau for one of his residences, and Napoleon III.,
+as well as his more illustrious namesake, was specially fond of hunting in
+its forests.
+
+Since 1870 the chateau and the forest have been under the domination of
+the state.
+
+There is a chapter in Dumas' "The Regent's Daughter," entitled "A Room in
+the Hotel at Rambouillet," which gives some little detail respecting the
+town and the forest.
+
+There is no hotel in Rambouillet to-day known as the "Royal Tiger," though
+there is a "Golden Lion."
+
+"Ten minutes later the carriage stopped at the Tigre-Royal. A woman, who
+was waiting, came out hastily, and respectfully assisted the ladies to
+alight, and then guided them through the passages of the hotel, preceded
+by a valet carrying lights.
+
+"A door opened, Madame Desroches drew back to allow Helene and Sister
+Therese to pass and they soon found themselves on a soft and easy sofa, in
+front of a bright fire.
+
+"The room was large and well furnished, but the taste was severe, for the
+style called rococo was not yet introduced. There were four doors; the
+first was that by which they had entered--the second led to the
+dining-room, which was already lighted and warmed--the third led into a
+richly appointed bedroom--the fourth did not open....
+
+"While the things which we have related were passing in the parlour of the
+Hotel Tigre-Royal, in another apartment of the same hotel, seated near a
+large fire, was a man shaking the snow from his boots, and untying the
+strings of a large portfolio. This man was dressed in the hunting livery
+of the house of Orleans; the coat red and silver, large boots, and a
+three-cornered hat, trimmed with silver. He had a quick eye, a long,
+pointed nose, a round and open forehead, which was contradicted by thin
+and compressed lips."
+
+       *       *       *       *       *
+
+Compiegne, like Crepy-en-Valois, Dammartin, Villers-Cotterets, and other
+of the towns and villages of the district, which in the fourteenth century
+belonged to the younger branch of the royal house, enter largely into the
+romances of Dumas, as was but natural, seeing that this region was the
+land of his birth.
+
+The most elaborate and purely descriptive parts are found in "The Wolf
+Leader," wherein are presented so many pictures of the forest life of the
+region, and in "The Taking of the Bastille," in that part which describes
+the journey of Ange Pitou to Paris.
+
+Crepy, Compiegne, Senlis, Pierrefonds, are still more celebrated in Dumas'
+writings for glorious and splendid achievements--as they are with respect
+to the actual fact of history, and the imposing architectural monuments
+which still remain to illustrate the conditions under which life endured
+in mediaeval times.
+
+At Crepy, now a sleepy old-world village, is still seen the establishment
+of the Valois of which Dumas wrote; and another _grande maison_ of the
+Valois was at Villers-Cotterets--a still more somnolent reminder of the
+past. At Compiegne, only, with its magnificent Hotel de Ville, does one
+find the activities of a modern-day life and energy.
+
+Here in strange juxtaposition with a remarkably interesting and
+picturesque church, and the dainty Renaissance Hotel de Ville, with its
+_jacquemart_, its belfry, its pointed gable, and its ornate facade, is
+found a blend of past and present, which combines to produce one of those
+transformations or stage-settings which throughout France are so often met
+with and admired.
+
+No more charming _petite ville_ exists in all France than Compiegne, one
+of the most favoured of all the country residences of the Kings of France.
+
+The chateau seen to-day was an erection of Louis XV.
+
+Le Foret de Compiegne is as beautiful and unspoiled as any, and is,
+moreover, not overrun with tourists and trippers, as is Fontainebleau.
+
+
+[Illustration: CHATEAU OF THE DUCS DE VALOIS, CREPY]
+
+
+Its area approximates 60,000 acres, and its circumference sixty miles.
+
+In short, the whole domain forms a charming and delightful place of
+retreat, which must have been duly appreciated during the troublous times
+of Louis' reign.
+
+It was here, in the Foret de Compiegne, that the great hunting was held,
+which is treated in "Chicot the Jester."
+
+The Bois de Vincennes was a famous duelling-ground--and is to-day, _sub
+rosa_. It was here that Louis de Franchi, in the "Corsican Brothers," who
+forewarned of his fate, died in the duel with Rene de Chateaurien, just as
+he had predicted; at exactly "_neuf heures dix_."
+
+This park is by no means the rival of the Bois de Boulogne in the
+affections of the Parisian public, but it is a wide expanse of
+tree-covered park land, and possesses all the characteristics of the other
+suburban _forets_ which surround Paris on all sides.
+
+It has, moreover, a chateau, a former retreat or country residence of the
+Kings of France, though to-day it has been made over to the ministry of
+war, whereas the Chateau de Madrid, the former possession of the Bois de
+Boulogne, has disappeared. The Chateau de Vincennes is not one of the
+sights of Paris. For a fact, it is quite inaccessible, being surrounded
+by the ramparts of the Fort de Vincennes, and therefore forbidden to the
+inquisitive.
+
+It was here in the Chateau de Vincennes that Charles IX. died a lingering
+death, "by the poison prepared for another," as Dumas has it in
+"Marguerite de Valois."
+
+Among the many illustrious prisoners of the Chateau de Vincennes have been
+the King of Navarre (1574), Conde (1650), Cardinal de Retz (1652), Fouquet
+(1661), Mirabeau (1777), the Duc d'Enghien (1804), and many others, most
+of whom have lived and breathed in Dumas' pages, in the same parts which
+they played in real life.
+
+
+
+
+CHAPTER XVII.
+
+THE FRENCH PROVINCES
+
+
+Dumas' acquaintance with the French provinces was very comprehensive,
+though it is of the region northeast of Paris that he was most fond; of
+the beloved forest region around Crepy and Villers-Cotterets; the road to
+Calais, and Picardie and Flanders. Dumas was ever fond of, and familiar
+with, the road from Paris to Calais. The National Route ran through Crepy,
+and the byroad through his native Villers-Cotterets. In the "Vicomte de
+Bragelonne," he calls the region "The Land of God," a sentiment which
+mostly has not been endorsed by other writers; still, it is a beautiful
+country, and with its thickly wooded plantations, its industrious though
+conglomerate population, it is to-day--save for the Cantal and the
+Auvergne--that part of France of which English-speaking folk know the
+least. And this, too, on the direct road between London and Paris!
+
+Dumas, in the above-mentioned book, describes the journey through this
+region which was made by Buckingham and De Wardes.
+
+"Arriving at Calais, at the end of the sixth day, they chartered a boat
+for the purpose of joining the yacht that was to convey them to England,
+and which was then tacking about in full view."
+
+The old port of Calais must have been made use of by the personages of
+whom Dumas wrote, who trafficked forth between England and France.
+
+Calais has ever been the most important terminus of cross-channel traffic,
+and there be those who know, who say that the boat service is not improved
+in comfort in all these ages, and certainly Calais, which most English
+travellers know only by fleeting glimpses, might with profit be visited
+more frequently, if only to follow in the wake of Sterne's sentimental
+footsteps.
+
+The old port, of course, exists no more; new dykes, breakwaters, and the
+_gare maritime_ have taken the place of the ancient landing-places, where
+royalties and others used to embark in frail sailing-vessels for the
+English ports across the channel.
+
+The old belfry still exists, and forms a beacon by day, at least, much as
+it did of yore. By night the new electric-light flashes its beams twenty
+odd miles across the channel on Dover Cliff, in a way which would have
+astonished our forefathers in the days gone by.
+
+It was at Calais, too, that was enacted the final scene in the life of
+Mary Stuart in France.
+
+The misfortunes of Mary Stuart formed the subject of one of the series of
+"Les Crimes Celebres." In the opening words of this chapter, Dumas has
+said, "Of all the names predestined to misfortune in France, it is the
+name of Henri. Henri I. was poisoned, Henri II. was killed (maliciously,
+so some one has said) in a tournament, Henri III. and Henri IV. were
+assassinated." In Scotland it is the name of Stuart.
+
+The chronicle concerns France only with respect to the farewell of Mary,
+after having lost her mother and her spouse in the same year (1561). She
+journeyed to Scotland by Calais, accompanied by the Cardinals de Guise and
+de Lorraine, her uncles, by the Duc and Duchesse de Guise, the Duc
+d'Aumale, and M. de Nemours.
+
+Here took place that heartrending farewell, which poets and painters, as
+well as historians and novelists, have done so much to perpetuate. "Adieu,
+France!" she sobbed. "Adieu, France!" And for five hours she continued to
+weep and sob, "Adieu, France! Adieu, France!" For the rest, the well-known
+historical figures are made use of by Dumas,--Darnley, Rizzio, Huntley,
+and Hamilton,--but the action does not, of course, return to France.
+
+Not far south of Calais is Arras, whence came the Robespierre who was to
+set France aflame.
+
+"The ancestors of the Robespierres," says Dumas, "formed a part of those
+Irish colonists who came to France to inhabit our seminaries and
+monasteries. There they received from the Jesuits the good educations they
+were accustomed to give to their pupils. From father to son they were
+notaries; one branch of the family, that from which this great man
+descends, established himself at Arras, a great centre, as you know, of
+noblesse and the church.
+
+"There were in this town two _seigneurs_, or, rather, two kings; one was
+the Abbe of St. Waast, the other was the Bishop of Arras, whose palace
+threw one-half the town into shade."
+
+The former palace of the Bishop of Arras is to-day the local _musee_. It
+is an extensive establishment, and it flanks an atrocious Renaissance
+cathedral of no appealing charm whatever, and, indeed, the one-time
+bishop's palace does not look as though it was ever a very splendid
+establishment.
+
+Still farther to the southward of Calais is the feudal Castle of
+Pierrefonds, so beloved of Porthos in "Vingt Ans Apres." It is, and has
+ever been since its erection in 1390 by Louis d'Orleans, the brother of
+Charles VI., one of the most highly impregnable and luxurious chateaux of
+all France.
+
+
+[Illustration: CASTLE OF PIERREFONDS]
+
+
+Four times it was unsuccessfully besieged, and came finally, in 1617, to
+be dismantled.
+
+The great Napoleon purchased it after the Revolution, and finally, through
+the liberality of Napoleon III.,--one of the few acts which redound to his
+credit,--it was restored, by Viollet-le-Duc, at a cost of over five
+million francs.
+
+In "Pauline," that fragment which Dumas extracted from one of his
+"Impressions du Voyage," the author comes down to modern times, and gives
+us, as he does in his journals of travel, his "Memoires," and others of
+his lighter pieces of fiction, many charming pen-portraits of localities
+familiar not only to his pen, but to his personal experiences.
+
+He draws in "Pauline" a delightful picture of the old fishing-village of
+Trouville--before it became a resort of fashion. In his own words he
+describes it as follows:
+
+"I took the steamer from Havre, and two hours later was at Honfleur; the
+next morning I was at Trouville."
+
+To-day the fly-by-day tourist does the whole journey in a couple of
+hours--if he does not linger over the attractions of "Les Petits Chevaux"
+or "Trente et Quarante," at Honfleur's pretty Casino.
+
+"You know the little town with its population of fisher-folk. It is one of
+the most picturesque in Normandy. I stayed there a few days, exploring the
+neighbourhood, and in the evening I used to sit in the chimney-corner with
+my worthy hostess, Madame Oseraie. There I heard strange tales of
+adventures which had been enacted in Calvados, Loiret, and La Manche."
+
+Continuing, the author, evidently having become imbued with the local
+colour of the vicinity, describes, more or less superficially, perhaps,
+but still with vividness, if not minuteness, those treasure-chests of
+history, the towns and villages of Normandy:--Caen, Lisieux, Falaise, the
+cradle of the Conqueror William, "the fertile plains" around Pont Audemer,
+Havre, and Alencon.
+
+Normandy, too, was the _locale_ of the early life of Gabriel Lambert, the
+unappealing leading-man of that dramatic story of a counterfeiter's life,
+which bears the same title.
+
+Dumas' first acquaintance with the character in real life,--if he had any
+real personality, as one is inclined to think he had,--was at Toulon,
+where the unfortunate man was imprisoned and made to work in the galleys.
+
+In the course of the narrative the scene shifts from prisons, galleys, and
+chain-gangs, backward and forward, until we get the whole gamut of the
+criminal's life.
+
+Gabriel, in the days of his early life at Trouville, had acquired the art
+of skilled penmanship, and used it wherever he could for his own
+advantage, by fabricating the handwriting of others--and some honest work
+of a similar nature.
+
+Finally the call of Paris came strong upon him, and he set forth by Pont
+l'Eveque and Rouen to the metropolis, where his downfall was speedily
+consummated, to the sorrow and resentment of his old friends of the little
+Norman fishing-village, and more particularly to Marie Granger, his
+country sweetheart, who longed to follow him to Paris, not suspecting the
+actual turn affairs had taken.
+
+In "The Count of Monte Cristo," Dumas again evinces his fondness for, and
+acquaintance with, the coast of Normandy.
+
+It is a brief reference, to be sure, but it shows that Dumas had some
+considerable liking for the sea, and a more or less minute knowledge of
+the coast of France. This is further evinced by the details into which he
+launches once and again, with reference to the littoral of the
+Mediterranean, Belle Ile, and its surroundings, and the coasts of
+Normandy, Brittany, and the Pas de Calais.
+
+In "The Count of Monte Cristo," Dantes says to his companion, Bertuccio:
+
+"'I am desirous of having an estate by the seaside in Normandy--for
+instance, between Havre and Boulogne. You see, I give you a wide range. It
+will be absolutely necessary that the place you may select have a small
+harbour, creek, or bay, into which my vessel can enter and remain at
+anchor. She merely draws fifteen feet water. She must be kept in constant
+readiness to sail immediately I think proper to give the signal. Make the
+requisite inquiries for a place of this description, and when you have met
+with an eligible spot, visit it, and if it possess the advantages desired,
+purchase it at once in your own name. The corvette must now, I think, be
+on her way to Fecamp, must she not?'"
+
+With Brittany, Dumas is quite as familiar. In "Le Vicomte de Bragelonne,"
+he gives minute, though not wearisome, details of Belle Ile and the Breton
+coast around about. Aramis, it seems, had acquired Belle Ile, and had
+risen to high ecclesiastical rank, making his home thereon.
+
+
+[Illustration: NOTRE DAME DE CHARTRES]
+
+
+Dumas' love and knowledge of gastronomy comes to the fore again here. When
+D'Artagnan undertook his famous journey to Belle Ile, on the coast of
+Brittany, as messenger of Louis XIV., whom he called his sun, after he had
+bought that snuff-coloured _bidet_ which would have disgraced a
+corporal, and after he had shortened his name to Agnan,--to complete his
+disguise,--he put in one night at La Roche-Bernard, "a tolerably important
+city at the mouth of the Vilaine, and prepared to sup at a hotel." And he
+did sup; "off a teal and a _torteau_, and in order to wash down these two
+distinctive Breton dishes, ordered some cider, which, the moment it
+touched his lips, he perceived to be more Breton still."
+
+On the route from Paris to the mouth of the Loire, where D'Artagnan
+departed for Belle Ile, is Chartres. Its Cathedral de Notre Dame has not
+often appeared in fiction. In history and books of travel, and of artistic
+and archaeological interest, its past has been vigorously played.
+
+Dumas, in "La Dame de Monsoreau," has revived the miraculous legend which
+tradition has preserved.
+
+It recounts a ceremony which many will consider ludicrous, and yet others
+sacrilegious. Dumas describes it thus:
+
+"The month of April had arrived. The great cathedral of Chartres was hung
+with white, and the king was standing barefooted in the nave. The
+religious ceremonies, which were for the purpose of praying for an heir to
+the throne of France, were just finishing, when Henri, in the midst of
+the general silence, heard what seemed to him a stifled laugh. He turned
+around to see if Chicot were there, for he thought no one else would have
+dared to laugh at such a time. It was not, however, Chicot who had laughed
+at the sight of the two chemises of the Holy Virgin, which were said to
+have such a prolific power, and which were just being drawn from their
+golden box; but it was a cavalier who had just stopped at the door of the
+church, and who was making his way with his muddy boots through the crowd
+of courtiers in their penitents' robes and sacks. Seeing the king turn, he
+stopped for a moment, and Henri, irritated at seeing him arrive thus,
+threw an angry glance at him. The newcomer, however, continued to advance
+until he reached the velvet chair of M. le Duc d'Anjou, by which he knelt
+down."
+
+       *       *       *       *       *
+
+But a step from Chartres, on the Loire,--though Orleans, the "City of the
+Maid," comes between,--is Blois.
+
+In "Le Vicomte de Bragelonne," the last of the D'Artagnan series, the
+action comes down to later times, to that of the young king Louis XIV.
+
+In its opening lines its scene is laid in that wonderfully ornate and
+impressive Chateau of Blois, which so many have used as a background for
+all manner of writing.
+
+Dumas, with his usual directness, wasting no words on mere description,
+and only considering it as an accessory to his romance, refers briefly to
+this magnificent building--the combined product of the houses whose arms
+bore the hedgehog and the salamander.
+
+"Toward the middle of the month of May, 1660, when the sun was fast
+absorbing the dew from the _ravenelles_ of the Chateau of Blois, a little
+cavalcade entered the city by the bridge, without producing any effect
+upon the passengers of the quai-side, except a movement of the tongue to
+express, in the purest French then spoken in France (Touraine has ever
+spoken the purest tongue, as all know), 'There is Monsieur returning from
+the hunt.'... It should have been a trifling source of pride to the city
+of Blois that Gaston of Orleans had chosen it as his residence, and held
+his court in the ancient chateau of its states."
+
+It was in the Castle of the States of Blois that Louis XIV. received that
+unexpected visit from "His Majesty Charles II., King of England, Scotland,
+and Ireland," of which Dumas writes in the second of the D'Artagnan
+series.
+
+"'How strange it is you are here,' said Louis. 'I only knew of your
+embarkation at Brighthelmstone, and your landing in Normandy.'...
+
+"Blois was peaceful that morning of the royal arrival, at which
+announcement it was suddenly filled with all the tumult and the buzzing of
+a swarm of bees. In the lower city, scarce a hundred paces from the
+castle, is a sufficiently handsome street called the Rue Vieille, and an
+old and venerable edifice which, tradition says, was habited by a
+councillor of state, to whom Queen Catherine came, some say to visit and
+others to strangle."
+
+Not alone is Blois reminiscent of "Les Mousquetaires," but the numberless
+references in the series to Langeais, Chambord,--the chateaux and their
+domains,--bring to mind more forcibly than by innuendo merely that Dumas
+himself must have had some great fondness for what has come to be the
+touring-ground of France _par excellence_.
+
+From "Le Vicomte de Bragelonne," one quotes these few lines which,
+significantly, suggest much: "Do you not remember, Montalais, the woods of
+Chaverney, and of Chambord, and the numberless poplars of Blois?" This
+describes the country concisely, but explicitly.
+
+Beyond Blois, beyond even Tours, which is Blois' next neighbour, passing
+down the Loire, is Angers.
+
+
+[Illustration: CASTLE OF ANGERS--CHATEAU OF BLOIS]
+
+
+In "La Dame de Monsoreau," more commonly known in English translations
+as "Chicot the Jester," much of the scene is laid in Anjou.
+
+To Angers, with its wonderful fairylike castle, with its seventeen
+black-banded towers (recalling, also, that this is the "Black Angers" of
+Shakespeare's "King John"), repaired the Duc d'Anjou, the brother of
+Charles IX. and Henri III., who then reigned at Paris.
+
+To this "secret residence" the duc came. Dumas puts it thus:
+
+"'Gentlemen!' cried the duke, 'I have come to throw myself into my good
+city of Angers. At Paris the most terrible dangers have menaced my
+life.'... The people then cried out, 'Long live our seigneur!'"
+
+Bussy, who had made the way clear for the duc, lived, says Dumas, "in a
+tumble-down old house near the ramparts." The ducal palace was actually
+outside the castle walls, but the frowning battlement was relied upon to
+shelter royalty when occasion required, the suite quartering themselves in
+the Gothic chateau, which is still to be seen in the debris-cluttered
+lumber-yard, to which the interior of the fortress has to-day descended.
+
+In other respects than the shocking care, or, rather, the lack of care,
+which is given to its interior, the Castle of Angers, with its battalion
+of _tours_, now without their turrets, its deep, machicolated walls, and
+its now dry _fosse_, presents in every way an awe-inspiring stronghold.
+
+Beyond Angers, toward the sea, is Nantes, famous for the Edict, and, in
+"The Regent's Daughter" of Dumas, the massacre of the four Breton
+conspirators.
+
+Gaston, the hero of the tale, had ridden posthaste from Paris to save his
+fellows. He was preceded, by two hours, by the order for their execution,
+and the reprieve which he held would be valueless did he arrive too late.
+
+"On reaching the gates of Nantes his horse stumbled, but Gaston did not
+lose his stirrups, pulled him up sharply, and, driving the spurs into his
+sides, he made him recover himself.
+
+"The night was dark, no one appeared upon the ramparts, the very sentinels
+were hidden in the gloom; it seemed like a deserted city.
+
+"But as he passed the gate a sentinel said something which Gaston did not
+even hear.
+
+"He held on his way.
+
+"At the Rue du Chateau his horse stumbled and fell, this time to rise no
+more.
+
+"What mattered it to Gaston now?--he had arrived....
+
+"He passed right through the castle, when he perceived the esplanade, a
+scaffold, and a crowd. He tried to cry, but no one heard him; to wave his
+handkerchief, but no one saw him.... Another mounts the scaffold, and,
+uttering a cry, Gaston threw himself down below.... Four men died who
+might have been saved had Gaston but arrived five minutes before, and, by
+a remarkable contretemps, Gaston himself shared the same fate."
+
+In "The Regent's Daughter," Dumas describes the journey to Nantes with
+great preciseness, though with no excess of detail. The third chapter
+opens thus:
+
+"Three nights after that on which we have seen the regent, first at
+Chelles, and then at Meudon, a scene passed in the environs of Nantes
+which cannot be omitted in this history; we will therefore exercise our
+privilege of transporting the reader to that place.
+
+"On the road to Clisson, two or three miles from Nantes,--near the convent
+known as the residence of Abelard,--was a large dark house, surrounded by
+thick, stunted trees; hedges everywhere surrounded the enclosure outside
+the walls, hedges impervious to the sight, and only interrupted by a
+wicket gate.
+
+"This gate led into a garden, at the end of which was a wall, having a
+small, massive, and closed door. From a distance this grave and dismal
+residence appeared like a prison; it was, however, a convent, full of
+young Augustines, subject to a rule lenient as compared with provincial
+customs, but rigid as compared with those of Paris.
+
+"The house was inaccessible on three sides, but the fourth, which did not
+face the road, abutted on a large sheet of water; and ten feet above its
+surface were the windows of the refectory.
+
+"This little lake was carefully guarded, and was surrounded by high wooden
+palisades. A single iron gate opened into it, and at the same time gave a
+passage to the waters of a small rivulet which fed the lake, and the water
+had egress at the opposite end."
+
+From this point on, the action of "The Regent's Daughter" runs riotously
+rapid, until it finally culminates, so far as Nantes is concerned, in the
+quintuple execution before the chateau, brought about by the five minutes'
+delay of Gaston with the reprieve.
+
+       *       *       *       *       *
+
+Dumas' knowledge of and love of the Mediterranean was great, and he knew
+its western shores intimately.
+
+In 1830 he resolved to visit all the shores of the Mediterranean in a
+yacht, which he had had specially built for the purpose, called the
+_Emma_.
+
+He arrived in Sicily, however, at the moment of the Garibaldian struggle
+against the King of Italy, with the result that the heroic elements of
+that event so appealed to him, that he forewent the other more tranquil
+pleasure of continuing his voyage, and went over to the mainland.
+
+In "The Count of Monte Cristo" is given one of Dumas' best bits of
+descriptive writing. At any rate, it describes one of the aspects of the
+brilliantly blue Mediterranean, which is only comparable to one's personal
+contemplation of its charms. It is apropos of the voyage to the island of
+Monte Cristo--which lies between Elba and Corsica, and has become fabled
+in the minds of present-day readers solely by Dumas' efforts--that he
+wrote the following:
+
+"It was about six o'clock in the evening; an opal-coloured light, through
+which an autumnal sun shed its golden rays, descended on the blue sea. The
+heat of the day had gradually decreased, and a light breeze arose, seeming
+like the respiration of nature on awakening from the burning siesta of the
+south; a delicious zephyr played along the coasts of the Mediterranean,
+and wafted from shore to shore the sweet perfume of plants, mingled with
+the fresh smell of the sea.
+
+"A light yacht, chaste and elegant in its form, was gliding amidst the
+first dews of night over the immense lake, extending from Gibraltar to the
+Dardanelles, and from Tunis to Venice. The motion resembled that of a swan
+with its wings opened toward the wind, gliding on the water. It advanced,
+at the same time, swiftly and gracefully, leaving behind it a glittering
+track. By degrees the sun disappeared behind the western horizon; but, as
+though to prove the truth of the fanciful ideas in heathen mythology, its
+indiscreet rays reappeared on the summit of each wave, seeming to reveal
+that the god of fire had just enfolded himself in the bosom of Amphitrite,
+who in vain endeavoured to hide her lover beneath her azure mantle."
+
+Of the island of Monte Cristo itself, Dumas' description is equally
+gratifying. In the earlier chapters he gives it thus:
+
+"The isle of Monte Cristo loomed large in the horizon.... They were just
+abreast of Mareciana, and beyond the flat but verdant isle of La Pianosa.
+The peak of Monte Cristo, reddened by the burning sun, was seen against
+the azure sky.... About five o'clock in the evening the island was quite
+distinct, and everything on it was plainly perceptible, owing to that
+clearness of the atmosphere which is peculiar to the light which the rays
+of the sun cast at its setting.
+
+"Edmond gazed most earnestly at the mass of rocks which gave out all the
+variety of twilight colours, from the brightest pink to the deepest blue;
+and from time to time his cheeks flushed, his brow became purple, and a
+mist passed over his eyes.... In spite of his usual command over himself,
+Dantes could not restrain his impetuosity. He was the first who jumped on
+shore; and had he dared, he would, like Lucius Brutus, have 'kissed his
+mother earth.' It was dark, but at eleven o'clock the moon rose in the
+midst of the ocean, whose every wave she silvered, and then, 'ascending
+high,' played in floods of pale light on the rocky hills of this second
+Pelion.
+
+"The island was familiar to the crew of _La Jeune Amelie_--it was one of
+her halting-places. As to Dantes, he had passed it on his voyages to and
+from the Levant, but never touched at it."
+
+It is unquestionable that "The Count of Monte Cristo" is the most popular
+and the best known of all Dumas' works. There is a deal of action, of
+personality and characterization, and, above all, an ever-shifting
+panorama, which extends from the boulevards of Marseilles to the faubourgs
+of Paris, and from the island Chateau d'If to the equally melancholy
+_allees_ of Pere la Chaise, which M. de Villefort, a true Parisian,
+considered alone worthy of receiving the remains of a Parisian family, as
+it was there only that they would be surrounded by worthy associates.
+
+All travellers for the East, _via_ the Mediterranean, know well the
+ancient Phoenician port of Marseilles. One does not need even the words
+of Dumas to recall its picturesqueness and importance--to-day as in ages
+past. Still, the opening lines of "The Count of Monte Cristo" do form a
+word-picture which few have equalled in the pages of romance; and there is
+not a word too much; nothing superfluous or extraneous.
+
+"On the 28th of February, 1815, the watchtower of Notre Dame de la Garde
+signalled the three-master, the _Pharaon_, from Smyrna, Trieste, and
+Naples.
+
+"As usual, a pilot put off immediately, and, rounding the Chateau d'If,
+got on board the vessel between Cape Morgion and the isle of Rion.
+
+"Immediately, and according to custom, the platform of Fort Saint-Jean was
+covered with lookers-on; it is always an event at Marseilles for a ship to
+come into port, especially when this ship, like the _Pharaon_, had been
+built, rigged, and laden on the stocks of the old Phocee, and belonged to
+an owner of the city.
+
+"The ship drew on: it had safely passed the strait, which some volcanic
+shock has made between the isle of Calasareigne and the isle of Jaros; had
+doubled Pomegue, and approached the harbour under topsails, jib, and
+foresail, but so slowly and sedately that the idlers, with that instinct
+which misfortune sends before it, asked one another what misfortune could
+have happened on board. However, those experienced in navigation saw
+plainly that, if any accident had occurred, it was not to the vessel
+herself, for she bore down with all the evidence of being skilfully
+handled, the anchor ready to be dropped, the bowsprit-shrouds loose, and,
+beside the pilot, who was steering the _Pharaon_ by the narrow entrance of
+the port Marseilles, was a young man, who, with activity and vigilant eye,
+watched every motion of the ship, and repeated each direction of the
+pilot.
+
+"The vague disquietude which prevailed amongst the spectators had so much
+affected one of the crowd that he did not await the arrival of the vessel
+in harbour, but, jumping into a small skiff, desired to be pulled
+alongside the _Pharaon_, which he reached as she rounded the creek of La
+Reserve."
+
+The process of coming into harbour at Marseilles does not differ greatly
+to-day from the description given by Dumas.
+
+New harbour works have been constructed, and sailing-ships have mostly
+given way to great steamers, but the channel winds and twists as of old
+under the lofty brow, capped by the sailors' church of Notre Dame de la
+Garde, which is to-day a tawdry, bizarre shrine, as compared with the
+motive which inspired the devout to ascend its heights to pray for those
+who go down to the sea in ships.
+
+Marseilles, of all cities of France, more even than Bordeaux or Lyons, is
+possessed of that individuality which stands out strong on the background
+of France--the land and the nation.
+
+In the commercial world its importance gives it a high rank, and its
+_affaires_ are regulated by no clues sent each morning by post or by
+telegraph from the world's other marts of trade. It has, moreover, in the
+Canebiere, one of the truly great streets of the world. Dumas remarked it,
+and so, too, have many others, who know its gay cosmopolitan aspect at all
+the hours of day and night.
+
+From "The Count of Monte Cristo," the following lines describe it justly
+and truly, and in a way that fits it admirably, in spite of the fact that
+Dumas wrote of it as it was a hundred years ago:
+
+"The young sailor jumped into the skiff, and sat down in the stern,
+desiring to be put ashore at the Canebiere. The two rowers bent to their
+work, and the little boat glided away as rapidly as possible in the midst
+of the thousand vessels which choke up the narrow way which leads between
+the two rows of ships from the mouth of the harbour to the Quai d'Orleans.
+
+"The ship-owner, smiling, followed him with his eyes until he saw him
+spring out on the quai and disappear in the midst of the throng, which,
+from five o'clock in the morning until nine o'clock at night, choke up
+this famous street of La Canebiere, of which the modern Phoceens are so
+proud, and say, with all the gravity in the world, and with that accent
+which gives so much character to what is said, 'If Paris had La Canebiere,
+Paris would be a second Marseilles.'"
+
+The Chateau d'If, far more than the island of Monte Cristo itself, is the
+_locale_ which is mostly recalled with regard to the romance of "Monte
+Cristo."
+
+Dumas has, of course, made melodramatic use of it; in fact, it seems
+almost as if he had built the romance around its own restricted _pied a
+terre_, but, nevertheless, it is the one element which we are pleased to
+call up as representative of the story when mention is made thereof.
+
+Not a line, not a word, is misplaced in the chapters in which Dumas treats
+of Dantes' incarceration in his island prison. Description does not crowd
+upon action or characterization, nor the reverse.
+
+"Through the grating of the window of the carriage, Dantes saw they were
+passing through the Rue Caisserie, and by the Quai St. Laurent and the Rue
+Taramis, to the port. They advanced toward a boat which a custom-house
+officer held by a chain near the quai. A shove sent the boat adrift, and
+the oarsman plied it rapidly toward the Pilon. At a shout the chain that
+closes the port was lowered, and in a second they were outside the
+harbour.... They had passed the Tete de More, and were now in front of the
+lighthouse and about to double the battery.... They had left the isle
+Ratonneau, where the lighthouse stood, on the right, and were now opposite
+the Point des Catalans.
+
+"'Tell me where you are conducting me?' asked Dantes of his guard.
+
+"'You are a native of Marseilles, and a sailor, and yet you do not know
+where you are going?'
+
+"'On my honour, I have no idea.'
+
+"'That is impossible.'
+
+"'I swear to you it is true. Tell me, I entreat.'
+
+"'But my orders.'
+
+"'Your orders do not forbid your telling me what I must know in ten
+minutes, in half an hour, or an hour. You see, I cannot escape, even if I
+intended.'
+
+"'Unless you are blind, or have never been outside the harbour, you must
+know.'
+
+"'I do not.'
+
+"'Look around you, then.' Dantes rose and looked forward, when he saw rise
+within a hundred yards of him the black and frowning rock on which stands
+the Chateau d'If. This gloomy fortress, which has for more than three
+hundred years furnished food for so many wild legends, seemed to Dantes
+like a scaffold to a malefactor.
+
+"'The Chateau d'If?' cried he. 'What are we going there for?' The gendarme
+smiled.
+
+"'I am not going there to be imprisoned,' said Dantes; 'it is only used
+for political prisoners. I have committed no crime. Are there any
+magistrates or judges at the Chateau d'If?'
+
+"'There are only,' said the gendarme, 'a governor, a garrison, turnkeys,
+and good thick walls. Come, come, do not look so astonished, or you will
+make me think you are laughing at me in return for my good nature.' Dantes
+pressed the gendarme's hand as though he would crush it.
+
+"'You think, then,' said he, 'that I am conducted to the chateau to be
+imprisoned there?'
+
+"'It is probable.'"
+
+The details of Dantes' horrible confinement, at first in an upper cell,
+and later in a lower dungeon, where, as "No. 34," he became the neighbour
+of the old Abbe Faria, "No. 27," are well known of all lovers of Dumas.
+The author does not weary one, and there are no lengthy descriptions
+dragged in to merely fill space. When Dantes finally escapes from the
+chateau, after he had been imprisoned for fourteen years, Dumas again
+launches into that concise, direct word-painting which proclaims him the
+master.
+
+"It was necessary for Dantes to strike out to sea. Ratonneau and Pomegue
+are the nearest isles of all those that surround the Chateau d'If; but
+Ratonneau and Pomegue are inhabited, together with the islet of Daume;
+Tiboulen or Lemaire were the most secure. The isles of Tiboulen and
+Lemaire are a league from the Chateau d'If....
+
+"Before him rose a mass of strangely formed rocks, that resembled nothing
+so much as a vast fire petrified at the moment of its most fervent
+combustion. It was the isle of Tiboulen....
+
+"As he rose, a flash of lightning, that seemed as if the whole of the
+heavens were opened, illumined the darkness. By its light, he saw the isle
+of Lemaire and Cape Croiselle, a quarter of a league distant."
+
+In "The Count of Monte Cristo," Dumas makes a little journey up the valley
+of the Rhone into Provence.
+
+In the chapter entitled "The Auberge of the Pont du Gard," he writes, in
+manner unmistakably familiar, of this land of the troubadours, the roses,
+and the beautiful women; for the women of Arles--those world-famous
+Arlesiennes--are the peers, in looks, of all the women of France.
+
+Dumas writes of Beaucaire, of Bellegarde, of Arles, and of Aigues-Mortes,
+but not very affectionately; indeed, he seems to think all Provence "an
+arid, sterile lake," but he comes out strong on the beauty of the women of
+Arles, and marvels how they can live in the vicinity of the devastating
+fevers of the Camargue.
+
+The auberge of the Pont du Garde itself--the establishment kept by the old
+tailor, Caderousse, whom Dantes sought out after his escape from the
+Chateau d'If--the author describes thus:
+
+"Such of my readers as have made a pedestrian excursion to the south of
+France may perchance have noticed, midway between the town of Beaucaire
+and the village of Bellegarde, a small roadside inn, from the front of
+which hung, creaking and flapping in the wind, a sheet of tin covered
+with a caricature resemblance of the Pont du Gard. This modern place of
+entertainment stood on the left-hand side of the grand route, turning its
+back upon the Rhone. It also boasted of what in Languedoc is styled a
+garden, consisting of a small plot of ground, a full view of which might
+be obtained from a door immediately opposite the grand portal by which
+travellers were ushered in to partake of the hospitality of mine host of
+the Pont du Gard. This plaisance or garden, scorched up beneath the ardent
+sun of a latitude of thirty degrees, permitted nothing to thrive or
+scarcely live in its arid soil. A few dingy olives and stunted fig-trees
+struggled hard for existence, but their withered, dusty foliage abundantly
+proved how unequal was the conflict. Between these sickly shrubs grew a
+scanty supply of garlic, tomatoes, and eschalots; while, lone and
+solitary, like a forgotten sentinel, a tall pine raised its melancholy
+head in one of the corners of this unattractive spot, and displayed its
+flexible stem and fan-shaped summit dried and cracked by the withering
+influence of the mistral, that scourge of Provence."
+
+The great fair of Beaucaire was, and is,--though Beaucaire has become a
+decrepit, tumble-down river town on the Rhone, with a ruined castle as
+its chief attraction,--renowned throughout France.
+
+It was here that the head of the house of Morrel, fearing lest the report
+of his financial distress should get bruited abroad at Marseilles, came to
+sell his wife's and daughter's jewels, and a portion of his plate.
+
+This fair of Beaucaire attracted a great number of merchants of all
+branches of trade, who arrived by water and by road, lining the banks of
+the Rhone from Arles to Beaucaire, and its transpontine neighbour,
+Tarascon, which Daudet has made famous.
+
+Caderousse, the innkeeper, visited this fair, as we learn, "in company
+with a man who was evidently a stranger to the south of France; one of
+those merchants who come to sell jewelry at the fair of Beaucaire, and
+who, during the month the fair lasts, and during which there is so great
+an influx of merchants and customers from all parts of Europe, often have
+dealings to the amount of one hundred thousand to one hundred and fifty
+thousand francs (L4,000 to L6,000)."
+
+       *       *       *       *       *
+
+That Dumas was a great traveller is well known and substantiated by the
+records he has left.
+
+When living at Toulon in the spring of 1835, as he himself tells us, he
+first came into possession of the facts which led to the construction of
+"Gabriel Lambert."
+
+There was doubtless much of truth in the tale, which appears not to be
+generally known to English readers, and it is more than probable that much
+of the incident was originally related to Dumas by the "governor of the
+port."
+
+Dumas was living at the time in a "small suburban house," within a stone's
+throw of Fort Lamalge, the prison, hard at work on his play of "Captain
+Paul"--though, as he says, he was greatly abstracted from work by the
+"contemplation of the blue Mediterranean spangled with gold, the mountains
+that blind in their awful nakedness, and of the sky impressive in its
+depth and clearness."
+
+The result of it all was that, instead of working at "Captain Paul" (Paul
+Jones), he left off working at all, in the daytime,--no infrequent
+occurrence among authors,--and, through his acquaintance with the
+governor, evolved the story of the life-history of "Gabriel Lambert."
+
+       *       *       *       *       *
+
+"Murat" was the single-worded title given by Dumas to what is perhaps the
+most subtle of the "Crimes Celebres." He drew his figures, of course, from
+history, and from a comparatively near view-point, considering that but
+twenty-five years had elapsed since the death of his subject.
+
+Marseilles, Provence, Hyeres, Toulon, and others of those charming towns
+and cities of the Mediterranean shore, including also Corsica, form the
+rapid itinerary of the first pages.
+
+For the action itself, it resembles nothing which has gone before, or
+which is so very horrible. It simply recounts the adventures and incidents
+in the life of the Marshal of France which befel his later years, and
+which culminated in his decapitated head being brought before the King of
+Naples as the only assurance which would satisfy him that Murat was not an
+adventurer and intriguer.
+
+There is a pleasant little town in the Midi of France by the name of
+Cahors. It is a historic town as well; in fact, it was part of the dowry
+which Henri de Navarre was to receive when he married Marguerite.
+
+The circumstance is recounted by Dumas in "The Forty-Five Guardsmen," and
+extends to some length in the most marvellously descriptive dialogue.
+
+"The poor Henri de Navarre," as Dumas called him, "was to receive as his
+wife's dowry three hundred thousand golden crowns and some towns, among
+them Cahors.
+
+"'A pretty town, _mordieu_!'
+
+"'I have claimed not the money, but Cahors.'
+
+"'You would much like to hold Cahors, Sire?'
+
+"'Doubtless; for, after all, what is my principality of Bearn? A poor
+little place, clipped by the avarice of my mother-in-law and
+brother-in-law.'
+
+"'While Cahors--'
+
+"'Cahors would be my rampart, the safeguard of my religion.'
+
+"'Well, Sire, go into mourning for Cahors; for, whether you break with
+Madame Marguerite or not, the King of France will never give it to you,
+and unless you take it--'
+
+"'Oh, I would soon take it, if it was not so strong, and, above all, if I
+did not hate war.'
+
+"'Cahors is impregnable, Sire.'
+
+"'Oh! impregnable! But if I had an army, which I have not--'
+
+"'Listen, Sire. We are not here to flatter each other. To take Cahors,
+which is held by M. de Vezin, one must be a Hannibal or a Caesar; and your
+Majesty--'
+
+"'Well?' said Henri, with a smile.
+
+"'Has just said you do not like war.'...
+
+"'Cahors is so well guarded, because it is the key of the south.'"
+
+Chapter fifty-three of the above book recounts the siege itself,--as we
+know it in history,--but with all that added picturesqueness which Dumas
+commanded.
+
+"'Henri will not pay me his sister's dowry, and Margot cries out for her
+dear Cahors. One must do what one's wife wants, for peace's sake;
+therefore I am going to try to take Cahors.'...
+
+"Henri set off at full gallop, and Chicot followed him. On arriving in
+front of his little army, Henri raised his visor, and cried:
+
+"'Out with the banner! out with the new banner!'
+
+"They drew forth the banner, which had the double scutcheon of Navarre and
+Bourbon; it was white, and had chains of gold on one side, and
+_fleurs-de-lis_ on the other.
+
+"Again the cannon from Cahors were fired, and the balls tore through a
+file of infantry near the king....
+
+"'Oh!' cried M. de Turenne, 'the siege of the city is over, Vezin.' And as
+he spoke he fired at him and wounded him in the arm....
+
+"'You are wrong, Turenne,' cried M. de Vezin; 'there are twenty sieges in
+Cahors; so, if one is over, there are nineteen to come.'
+
+"M. de Vezin defended himself during five days and nights from street to
+street and from house to house. Luckily for the rising fortunes of Henri
+of Navarre, he had counted too much on the walls and garrison of Cahors,
+and had neglected to send to M. de Biron....
+
+"During these five days and nights, Henri commanded like a captain and
+fought like a soldier, slept with his head on a stone, and awoke sword in
+hand. Each day they conquered a street or a square, which each night the
+garrison tried to retake. On the fourth night the enemy seemed willing to
+give some rest to the Protestant army. Then it was Henri who attacked in
+his turn. He forced an intrenched position, but it cost him seven hundred
+men. M. de Turenne and nearly all the officers were wounded, but the king
+remained untouched."
+
+       *       *       *       *       *
+
+The Pyrenean city of Pau is more than once referred to by Dumas in the
+Valois romances, as was but natural, considering that its ancient chateau
+was the _berceau_ of that Prince of Bearn who later married the intriguing
+Marguerite, and became ultimately Henri IV.
+
+This fine old structure--almost the only really splendid historical
+monument of the city--had for long been the residence of the Kings of
+Navarre; was rebuilt in the fourteenth century by the brilliant Gaston
+Phoebus; and enlarged and luxuriously embellished by the beautiful
+Marguerite herself in the sixteenth century, after she had become _la
+femme de Henri d'Albert_, as her spouse was then known.
+
+As might be expected, Dumas was exceedingly familiar with the suburban
+topography of Paris, and made frequent use of it in his novels.
+
+It is in "The Count of Monte Cristo," however, that this intimacy is best
+shown; possibly for the reason that therein he dealt with times less
+remote than those of the court romances of the "Valois" and the "Capets."
+
+When Dantes comes to Paris,--as the newly made count,--he forthwith
+desires to be ensconced in an establishment of his own. Dumas recounts the
+incident thus:
+
+"'And the cards I ordered to be engraved as soon as you knew the number of
+the house?'
+
+"'M. le Comte, it is done already. I have been myself to the best engraver
+of the Palais Royal, who did the plate in my presence. The first card
+struck off was taken, according to your orders, to M. le Baron Danglars,
+Rue de la Chaussee d'Antin, No. 7.'...
+
+"As the steward had said, the notary awaited him in the small salon. He
+was a simple-looking lawyer's clerk, elevated to the extraordinary dignity
+of a provincial scrivener.
+
+"'You are the notary empowered to sell the country-house that I wish to
+purchase, monsieur?' asked Monte Cristo.
+
+"'Yes, M. le Comte,' returned the notary.
+
+"'Is the deed of sale ready?'
+
+"'Yes, M. le Comte.'
+
+"'Have you brought it?'
+
+"'Here it is.'
+
+"'Very well; and where is this house that I purchase?' asked the count,
+carelessly, addressing himself half to Bertuccio, half to the notary. The
+steward made a gesture that signified, 'I do not know.' The notary looked
+at the count with astonishment.
+
+"'What!' said he, 'does not M. le Comte know where the house he purchases
+is situated?'
+
+"'No,' returned the count.
+
+"'M. le Comte does not know it?'
+
+"'How should I know it? I have arrived from Cadiz this morning. I have
+never before been at Paris: and it is the first time I have ever even set
+my foot in France!'
+
+"'Ah, that is different; the house you purchase is situated at Auteuil, in
+the Rue de la Fontaine, No. 28.' At these words Bertuccio turned pale.
+
+"'And where is Auteuil?' asked the count.
+
+"'Close here, monsieur,' replied the notary; 'a little beyond Passy; a
+charming situation, in the heart of the Bois de Boulogne.'
+
+"'So near as that?' said the count. 'But that is not in the country. What
+made you choose a house at the gates of Paris, M. Bertuccio?'
+
+"'I?' cried the steward, with a strange expression. 'M. le Comte did not
+charge me to purchase this house. If M. le Comte will recollect--if he
+will think--'
+
+"'Ah, true,' observed Monte Cristo; 'I recollect now. I read the
+advertisement in one of the papers, and was tempted by the false title, "a
+country-house."'
+
+"'It is not yet too late,' cried Bertuccio, eagerly; 'and if your
+Excellency will entrust me with the commission, I will find you a better
+at Enghien, at Fontenay-aux-Roses, or at Bellevue.'
+
+"'Oh, no,' returned Monte Cristo, negligently; 'since I have this, I will
+keep it.'
+
+"'And you are quite right,' said the notary, who feared to lose his fee.
+'It is a charming place, well supplied with spring-water and fine trees; a
+comfortable habitation, although abandoned for a long time; without
+reckoning the furniture, which, although old, is yet valuable, now that
+old things are so much sought after. I suppose M. le Comte has the tastes
+of the day?'"
+
+Whatever may have been Dumas' prodigality with regard to money matters in
+his personal affairs, he was evidently a good traveller, in the sense that
+he knew how to plan a journey with the greatest economy.
+
+One sees evidences of this in the "Count of Monte Cristo," where he
+describes the journey of Madame de Morcerf from Paris to Marseilles.
+
+"'I have made inquiries,' said Albert, 'respecting the diligences and
+steamboats, and my calculations are made. You will take your place in the
+coupe to Chalons. You see, mother, I treat you handsomely for thirty-five
+francs.'
+
+"Albert then took a pen, and wrote:
+
+                                                     _Frs._
+
+  Coupe to Chalons, thirty-five francs                 35
+  From Chalons to Lyons you will go on by the
+      steamboat--six francs                             6
+  From Lyons to Avignon (still by steamboat),
+      sixteen francs                                   16
+  From Avignon to Marseilles, seven francs              7
+  Expenses on the road, about fifty francs             50
+                                                     ----
+                                             Total    114
+
+"'Let us put down 120,' added Albert, smiling. 'You see I am generous; am
+I not, mother?'
+
+"'But you, my poor child?'
+
+"'I! do you not see I reserve eighty francs for myself? A young man does
+not require luxuries; besides, I know what travelling is.'
+
+"'With a post-chaise and _valet de chambre_?'"
+
+The route is practicable even to-day, though probably not at the prices
+given, and one does not go by steamboat from Chalons to Lyons, though he
+may from Lyons to Avignon.
+
+
+
+
+CHAPTER XVIII.
+
+LES PAYS ETRANGERS
+
+
+Dumas frequently wandered afield for his _mise-en-scene_, and with varying
+success; from the "Corsican Brothers," which was remarkably true to its
+_locale_, and "La Tulipe Noire," which was equally so, if we allow for a
+certain perspective of time, to "Le Capitaine Pamphile," which in parts,
+at least, is gross exaggeration or burlesque.
+
+Once only, to any great extent, did he go to Germany for his inspirations,
+and then only to German legend,--where so many others had been
+before,--and have since.
+
+In "Otho the Archer" is found a repetition of the Knight and Swan legend
+so familiar to all. It has been before--and since--a prolific source of
+supply to authors of all ranks and nationalities: Goethe, Schiller,
+Hoffman, Brentano, Fouque, Scott, and others.
+
+The book first appeared in 1840, before even "Monte Cristo" and "Les
+Trois Mousquetaires" were published as _feuilletons_, and hence, whatever
+its merits may be, it is to be classed as one of his immature efforts,
+rather than as a piece of profound romancing.
+
+The story of adventure, of battle, and of love-making is all there, but
+his picture of the scenery and life of the middle ages on the Rhine are,
+of course, as purely imaginary as is the romantic background of myth and
+legend.
+
+Of all the works dealing with foreign lands,--or, at least, foreign to his
+pen,--Dumas' "Black Tulip" will ever take a preeminent rank. Therein are
+pictures of Holland life and of the Hollandaise which, like the
+pen-drawings of Stevenson in "Catriona," will live far more vividly in the
+minds of most readers than volumes of mere dissertation written by others.
+
+The story opens with a recounting of the tragedy of the brothers Cornelius
+and Jacobus de Windt, which, though not differing greatly from historical
+fact, is as vivid and terrible an account of the persecutions of mortal
+man as any similar incident in romance itself, of whatever age and by
+whomever written.
+
+Dumas was in Amsterdam, in 1849, at the coronation of William III., where
+it has been said--by Flotow, the composer--that the king remarked to
+Dumas that none of the scenes of his romances had as yet been laid in the
+Netherlands, and thereupon told him what was substantially the story of
+"La Tulipe Noire." This first appeared as the product of Dumas' hand and
+brain in 1850.
+
+This is perhaps more or less a legendary account of its inception; like
+many another of the reasons for being of Dumas' romances, but it is
+sufficiently plausible and well authenticated to warrant acceptance,
+though it has been said, too, that it was to Paul Lacroix--"Bibliophile
+Jacob"--that Dumas owed the idea of the tale.
+
+At all events, it is a charming pen-picture of Holland; shows a wonderful
+love and knowledge of the national flower, the tulip, and is one of the
+most popular of all Dumas' tales, if we except the three cycles of
+romances, whose scenes and incidents are based on the history of French
+court life.
+
+Not for many years did the translators leave "La Tulipe Noire" unnoticed,
+and for over a half-century it has enjoyed a vogue which is at least
+comprehensible.
+
+Its plot and characters are most ingeniously and dextrously handled, but
+its greatest charm is incident to the process of evolving the famous black
+tulip from among the indigenous varieties which, at the time of the scene
+of the novel, had not got beyond the brilliantly variegated yellows and
+reds. From the various stages of mauve, purple, brown, and, finally,
+something very nearly akin to black, the flowering bulb finally took form,
+as first presented to a wide-spread public by Dumas.
+
+The celebrated Alphonse Karr, a devoted lover of flowers, took the trouble
+to make a "romancers' garden," composed of trees and flowers which
+contemporary novelists, finding the laws of nature too narrow for them,
+had described in their books. This imaginary garden owed to George Sand a
+blue chrysanthemum, to Victor Hugo a Bengal rose without thorns, to Balzac
+a climbing azalea, to Jules Janin a blue pink, to Madame de Genlis a green
+rose, to Eugene Sue a variety of cactus growing in Paris in the open air,
+to Paul Feval a variety of larch which retained its leaves during winter,
+to Forgues a pretty little pink clematis which flourished around the
+windows in the Latin quarter, to Rolle a scented camellia, and to Dumas
+the black tulip and a white lotus. The black tulip, it may be remarked,
+though unknown in Dumas' day, has now become an accomplished fact.
+
+Dumas, though not a botanist, had charming, if not very precise, notions
+about flowers,--as about animals,--and to him they doubtless said:
+
+      "Nous sommes les filles du feu secret,
+  Du feu qui circule dans les veines de la terre;
+  Nous sommes les filles de l'aurore et de la rosee,
+      Nous sommes les filles de l'air,
+      Nous sommes les filles de l'eau;
+  Mais nous sommes avant tout les filles du ciel."
+
+Dumas wandered much farther afield than the land of his beloved Valois. To
+Italy, to Spain, to Algeria, to Corsica, to Germany, and even to Russia.
+Mostly he made use of his experiences in his books of travel, of which
+"Les Impressions du Voyage" is the chief.
+
+Who would read the narrative of the transactions which took place in
+Russia's capital in the early nineteenth century, should turn to "Les
+Memoires d'un Maitre d'Armes," or "Dix-huit Mois a St. Petersburgh." It
+presents a picture of the Russian life of the time, in which--the critics
+agree--there is but slight disguise. Its story--for it is confessedly
+fiction--turns upon the fortunes of a young subaltern, who played a
+considerable part in the conspiracy of 1825, and, it has been said by a
+contemporary writer of the time, hardly any circumstance but the real name
+of the young man is disguised.
+
+It is in the main, or, at least, it has for its principal incident, the
+story of a political exile, and it is handled with Dumas' vivid and
+consummate skill, which therein proves again that the mere romancist had a
+good deal of the historian about him.
+
+Besides the _locale_ of "La Tulipe Noire," Dumas takes the action of "The
+Forty-Five Guardsmen" into the Netherlands. Francois, the Duc d'Anjou, had
+entered Belgium and had been elected Duc de Brabant, Sovereign Prince of
+Flanders. At this time it was supposed that Elizabeth of England saw the
+opportunity of reuniting the Calvinists of Flanders and France with those
+of England, and so acquire a triple crown. Then follows an account of the
+attack on Antwerp, which resulted in final defeat of the French, and
+presents one of the most graphic descriptions of a battle to be found in
+the pages of Dumas. The historic incident of the interview in Duc
+Francois' tent, between that worthy and the French Admiral de Joyeuse, is
+made much of by Dumas, and presents a most picturesque account of this
+bloody battle. The topography of Antwerp and the country around about is
+as graphic as a would-be painting.
+
+"'But,' cried the prince, 'I must settle my position in the country. I am
+Duke of Brabant and Count of Flanders, in name, and I must be so in
+reality. This William, who is gone I know not where, spoke to me of a
+kingdom. Where is this kingdom?--in Antwerp. Where is he?--probably in
+Antwerp also; therefore we must take Antwerp, and we shall know how we
+stand.'
+
+"'Oh! monseigneur, you know it now, or you are, in truth, a worse
+politician than I thought you. Who counselled you to take Antwerp?--the
+Prince of Orange. Who disappeared at the moment of taking the field?--the
+Prince of Orange. Who, while he made your Highness Duke of Brabant,
+reserved for himself the lieutenant-generalship of the duchy?--the Prince
+of Orange. Whose interest is it to ruin the Spaniards by you, and you by
+the Spaniards?--the Prince of Orange. Who will replace you, who will
+succeed, if he does not do so already?--the Prince of Orange. Oh!
+monseigneur, in following his counsels you have but annoyed the Flemings.
+Let a reverse come, and all those who do not dare to look you now in the
+face, will run after you like those timid dogs who run after those who
+fly.'
+
+"'What! you imagine that I can be beaten by wool-merchants and
+beer-drinkers?'
+
+"'These wool-merchants and these beer-drinkers have given plenty to do to
+Philippe de Valois, the Emperor Charles V., and Philippe II., who were
+three princes placed sufficiently high, monseigneur, for the comparison
+not to be disagreeable to you.'"
+
+In "Pascal Bruno," Dumas launched into a story of Sicilian brigandage,
+which has scarce been equalled, unless it were in his two other tales of
+similar purport--"Cherubino et Celestine," and "Maitre Adam le Calabrais."
+
+Originally it formed one of a series which were published in one
+volume--in 1838--under the title of "La Salle d'Armes, Pauline, et Pascal
+Bruno."
+
+According to the "Memoires," a favourite rendezvous of Dumas in Paris, at
+this period, was Grisier's fencing-room. There it was that the _maitre
+d'armes_ handed him the manuscript entitled "Eighteen Months at St.
+Petersburg,"--that remarkable account of a Russian exile,--and it is there
+that Dumas would have his readers to believe that he collected the
+materials for "Pauline" and "Murat."
+
+The great attraction of "The Corsican Brothers" lies not so much with
+Corsica, the home of the _vendetta_, the land of Napoleon, and latterly
+known politically as the 86me Departement de France, as with the events
+which so closely and strenuously encircled the lives of the brothers De
+Franchi in Paris itself.
+
+Corsican life and topography is limned, however, with a fidelity which has
+too often been lacking in Dumas' description of foreign parts. Perhaps,
+as has been said before, he extracted this information from others; but
+more likely--it seems to the writer--it came from his own intimate
+acquaintance with that island, as it is known that he was a visitor there
+in 1834.
+
+If this surmise be correct, the tale was a long time in taking shape,--an
+unusually long time for Dumas,--as the book did not appear until 1845, the
+same year as the appearance of "Monte Cristo" in book form.
+
+It was dedicated to Prosper Merimee, whose "Colomba" ranks as its equal as
+a thrilling tale of Corsican life.
+
+It has been remarked that, curiously enough, in spite of the fact that the
+story has been so often dramatized and adapted for the stage,--and acted
+by persons of all shades and grades of ability,--Dumas never thought well
+enough of it to have given it that turn himself.
+
+Dumas' acquaintance with Naples never produced any more lucid paragraphs
+descriptive of character, and the local colour and scenic effect besides,
+than in the few short pages of "Les Pecheurs du Filet." It comes, of
+course, as a result of Dumas' rather extended sojourn in Italy.
+
+When Dumas actually did write scenic descriptions, they were exceedingly
+graphic,--though not verbose,--and exceedingly picturesque,--though not
+sentimental,--as witness the following lines which open the tale--though
+he does make use a little farther on of the now trite tag, "See Naples and
+die."
+
+"Every morning on awakening I was in the habit of resting my elbows on the
+window-sill and gazing far out over the limpid and sparkling mirror of the
+Tyrrhenian Sea.... At night the bay is so intensely blue that, under more
+favourable conditions, it resembles those leaden-hued lakes, such as
+Avernus, the Fucine Lake, or Lake Agnano,--all in the neighbourhood of
+Naples, which cover the craters of extinct volcanoes."
+
+The story gives further a wonderful pen-portrait of Ladislas I. of
+Hungary, of Jerusalem, and of Sicily, and of the barbaric torture of "The
+Question," which was performed upon the aspiring lover of Joanna of
+Naples.
+
+Rome figures chiefly in "The Count of Monte Cristo," wherein half a dozen
+chapters are devoted to the "Eternal City." Here it is that Monte Cristo
+first meets Albert de Morcerf, son of one of that trio of enemies on whom
+the count has sworn revenge. De Morcerf, enjoying the pleasures of the
+Roman carnival, is captured by bandits, from whom he is rescued by the
+count, who, in saving the son, makes the first move of vengeance against
+the father.
+
+Various interesting parts of Rome are described and touched upon,--the
+Teatro Argentino, the Colosseum, the Plaza del Popolo--scene of the public
+executions of that time,--the catacombs of San Sebastian, and many others.
+The characteristic and picturesque manners and customs of the Romans, from
+_noblesse_ to peasants, are set down here in vivid and graphic style; and
+it is clearly plain that when Dumas sojourned in Rome he "did as the
+Romans do."
+
+Dumas' familiarity with Switzerland was no greater or no less than his
+knowledge of Spain, of Italy, of Russia, or of Corsica. In his volumes of
+travel, "Impressions du Voyage," are many charming bits of narrative which
+might well be extracted and elaborated into what is otherwise known as
+fiction. With regard to "Pauline," this is exactly what did happen, or,
+rather, the relationship between the Pauline of the novelette and the
+Pauline of "La Voyage en Suisse" is one based upon a common parentage.
+
+Switzerland early attracted Dumas' attention. He took his first tour in
+the cantons in 1832, partly as a means of convalescing from a severe
+illness, and partly because he was in danger of arrest for the too active
+part taken by him in the public funeral of General Lamarque and the riots
+that followed. No sooner was Dumas _en route_ than the leaves of his
+note-book were torn asunder and despatched forthwith to the then newly
+founded _Revue des Deux Mondes_.
+
+At Flueelen, that high Alpine pass, the mysterious veiled Pauline de
+Meulien and her cavalier, Alfred de N----, make their first appearance.
+One feels intuitively that here are the elements of a drama, of which the
+author will avail himself before long. The voyages continue, however, and
+the veiled lady fails to reappear until the end of the journey, when
+another transitory glimpse of her is had at Pfeffers.
+
+This Pauline's adventures evidently demanded more space than the travels
+could afford, and became ultimately a novelette.
+
+"Pauline" is one of Dumas' early attempts at fiction, and is told with
+originality, and a very considerable skill. Nearly twenty years after
+"Pauline" was written, Dumas told us that he met the counterpart of the
+villain of the story, Horace de Beuzeval, who consigned the beautiful
+Pauline to a living burial in the old abbey vault on the coast of
+Normandy, near Trouville.
+
+Dumas' pictures of Switzerland are more or less conventional; with him the
+story was the thing, and the minutiae of stage setting but a side issue.
+
+       *       *       *       *       *
+
+In "Les Crimes Celebres," Dumas goes back to history, though he sticks to
+France, with the exception of those dealing with the Borgias and Mary
+Stuart.
+
+The crimes of the Borgias--and they were many--end the series, though they
+cover but the period 1492-1507. The most unnatural and quite the most
+despicable being the throwing into the Tiber by Caesar Borgia the cadaver
+of his brother. Rome, the Popes, and Italy in general form much of the
+venue, but the political history of France, Spain, and Austria enter
+largely into the movement of the chronicle, and such widely separated
+towns of France as Perpignan, in the Comte de Roussillon in the south, and
+Hesdin, Etaples, and Bethune in the north, all play their parts in the
+political treaties of the time.
+
+
+THE END.
+
+
+
+
+Appendix I.
+
+DUMAS' ROMANCES AND HISTORICAL STUDIES CLASSED IN CHRONOLOGICAL ORDER
+
+
+  B.C. 100 Cesar.
+  B.C. 64 Gaule et France.
+  A.D. 57 Acte.
+  740-1425 Les Hommes de Fer.
+  740 Pepin.
+  748 Charlemagne.
+  1076 Guelfes et Gibelins.
+  1099 Praxede.
+  1157 Ivanhoe.
+  1162 Le Prince de Voleurs.
+  1162 Robin Hood.
+  1248 Dom Martins de Freytas.
+  1291-1737 Les Medicis.
+  1324-1672 Italiens et Flamands.
+  1324 Ange Gaddi.
+  1338 La Comtesse de Salisbury.
+  1356 Pierre le Cruel.
+  1385 Monseigneur Gaston Phoebus.
+  1388 Le Batard de Mauleon.
+  1389 Isabel de Baviere.
+  1402 Masaccio.
+  1412 Frere Philippe Lippi.
+  1414 La Peche aux Filets.
+  1425 Le Sire de Giac.
+  1429 Jehanne la Pucelle.
+  1433 Charles le Temeraire.
+  1437 Alexandre Botticelli.
+  1437-1587 Les Stuarts.
+  1446 Le Perugin.
+  1452 Jean Bellin.
+  1470 Quintin Metzys.
+  1474-1576 Trois Maitres.
+  1474-1564 Michel-Ange.
+  1477-1576 Titien.
+  1483-1520 Raphael.
+  1484 Andre de Mantegna.
+  1486 Leonard da Vinci.
+  1490 Fra Bartolommeo.
+  1490 Sogliana.
+  1492 Le Pincturiccio.
+  1496 Luca de Cranach.
+  1503 Baldassare Peruzzi.
+  1504 Giorgione.
+  1512 Baccio Bandinelli.
+  1512 Andre del Sarto.
+  1519 Le Salteador.
+  1523 Jacques de Pontormo.
+  1530 Jean Holbein.
+  1531 Razzi.
+  1537 Une Nuit a Florence.
+  1540 Jules Romain.
+  1540 Ascanio.
+  1542 Albert Durer.
+  1531 Les Deux Dianes.
+  1553 Henri IV.
+  1555 Le Page du Duc de Savoie.
+  1559 L'Horoscope.
+  1572 La Reine Margot.
+  1578 La Dame de Monsoreau.
+  1585 Les Quarante-Cinq.
+  1585 Louis XIII. et Richelieu.
+  1619-1825 Les Drames de la Mer.
+  1619 Boutikoe.
+  1621 Un Courtesan.
+  1625 Les Trois Mousquetaires.
+  1637 La Colombe.
+  1638-1715 Louis XIV. et Son Siecle.
+  1639 La Princesse de Monaco.
+  1640 Guerard Berck-Heyden.
+  1645 Vingt Ans Apres.
+  1650 La Guerre des Femmes.
+  1660 Le Vicomte de Bragelonne.
+  1672 Francois Mieris.
+  1672 La Tulipe Noire.
+  1683 La Dame de Volupte.
+  1697 Memoires d'une Aveugle.
+  1697 Les Confessions de la Marquise.
+  1703 Les Deux Reines.
+  1710-1774 Louis XV. et Sa Cour.
+  1715-1723 La Regence.
+  1718 Le Chevalier d'Harmental.
+  1719 Une Fille du Regent.
+  1729 Olympe de Cleves.
+  1739 La Maison de Glace.
+  1754-1789 Louis XVI. et la Revolution.
+  1762-1833 Mes Memoires.
+  1769-1821 Napoleon.
+  1770 Joseph Balsamo.
+  1772 Le Capitaine Marion.
+  1779 Le Capitaine Paul.
+  1784 Le Collier de la Reine.
+  1785 Le Docteur Mysterieux.
+  1788 Ingenue.
+  1789 Ange Pitou.
+  1789 Le Chateau d'Eppstein.
+  1790 La Comtesse de Charny.
+  1791 La Route de Varennes.
+  1792 Cecile.
+  1793 Le Chevalier de Maison-Rouge.
+  1793 La Fille du Marquis.
+  1793 Blanche de Beaulieu.
+  1793 Le Drame de '93.
+  1794 Les Blancs et les Bleus.
+  1795 La Junon.
+  1798 La San Felice.
+  1799 Emma Lyonna.
+  1799 Les Compagnons de Jehu.
+  1800 Souvenirs d'une Favorite.
+  1807 Memoires de Garibaldi.
+  1812 Le Capitaine Richard.
+  1815 Murat.
+  1824 Le Maitre d'Armes.
+  1825 Le Kent.
+  1831 Les Louves de Machecoul.
+  1838-1858 Les Morts Vont Vite.
+  1838 Hegesippe Moreau.
+  1842 Le Duc d'Orleans.
+  1848 Chateaubriand.
+  1849 La Derniere Annee de Marie Dorval.
+  1857 Beranger.
+  1857 Eugene Sue.
+  1857 Alfred de Musset.
+  1857 Achille Deveria.
+  1857 Lefevre-Deumier.
+  1858 La Duchesse d'Orleans.
+  1860 Les Garibaldiens.
+  1866 La Terreur Prussienne.
+
+
+
+
+Appendix II.
+
+DUMAS' ROMANCES, SKETCHES, AND "NOUVELLES INTIMES" CLASSED IN
+CHRONOLOGICAL ORDER
+
+
+  1469 Isaac Laquedem.
+  1708 Sylvandire.
+  1754 Le Pasteur d'Ashbourn.
+  1774 Le Testament de M. de Chauvelin.
+  1780 Le Meneur de Loups.
+  1793 La Femme au Collier de Velours.
+  1797 Jacques Ortis.
+  1799 Souvenirs d'Antony.
+  1805 Un Cadet de Famille.
+  1806 Aventures de John Davys.
+  1810 Les Mariages du Pere Olifus.
+  1810 Le Trou de l'Enfer.
+  1812 Jane.
+  1814 Le Comte de Monte-Cristo.
+  1815 Conscience l'Innocent.
+  1817 Le Pere La Ruine.
+  1824 Georges.
+  1827 Les Mohicans de Paris.
+  1827 Salvator.
+  1828 Sultanetta.
+  1828 Jacquot sans Oreilles.
+  1829 Catherine Blum.
+  1829 La Princesse Flora.
+  1830 Dieu Dispose.
+  1830 La Boule de Neige.
+  1831 Le Capitaine Pamphile.
+  1831 Les Drames Galants.
+  1831 Le Fils du Forcat.
+  1831 Les Mille et un Fantomes.
+  1832 Une Vie d'Artiste.
+  1834 Pauline.
+  1835 Fernande.
+  1835 Gabriel Lambert.
+  1838 Amaury.
+  1841 Les Freres Corses.
+  1841 Le Chasseur de Sauvagini.
+  1842 Black.
+  1846 Parisiens et Provinciaux.
+  1847 L'Ile de Feu.
+  1856 Madame de Chamblay.
+  1856 Une Aventure d'Amour.
+
+
+
+
+Appendix III.
+
+DUMAS' TRAVELS CLASSED IN CHRONOLOGICAL ORDER
+
+
+  1830 Quinze Jours au Sinai.
+  1832 Suisse.
+  1834 Le Midi de la France.
+  1835 Une Annee a Florence.
+  1835 La Ville Palmieri.
+  1835 Le Speronare. (Sicile.)
+  1835 Le Capitaine Arena. (Sicile.)
+  1835 Le Corricolo. (Naples.)
+  1838 Excursions sur les Bords du Rhin.
+  1839 La Vie au Desert. (Afrique meridionale.)
+  1843 L'Arabie Heureuse.
+  1846 De Paris a Cadix.
+  1846 Le Veloce (Tanger, Alger, Tunis.)
+  1850 Un Gil Blas en Californie.
+  1853 Un Pays Inconnu. (Havane, Bresil.)
+  1858 En Russie.
+  1858 Le Caucase.
+  1858 Les Baleiniers.
+
+
+
+
+Index
+
+
+  Abbaye de Montmartre, 227.
+
+  Abbey of St. Denis, 142, 143.
+
+  Abbey of St. Genevieve, 37, 136, 187, 253.
+
+  Abelard and Heloise, 82.
+
+  About, Edmond, 42, 188.
+
+  Academie Francaise, 228.
+
+  Aigues-Mortes, 139, 347.
+
+  Alais, 160.
+
+  Alegres, D', 224.
+
+  Alencon, 79, 326.
+
+  Algiers, 45.
+
+  Alicante, 159.
+
+  Allee de la Muette, 231.
+
+  Allee des Cygnes, 11.
+
+  Alsace and Lorraine, 11.
+
+  "Ambigu," The, 54.
+
+  Amsterdam, 361.
+
+  "An Englishman in Paris" (Vandam), 94, 116.
+
+  "Ange Pitou," see Works of Dumas.
+
+  Angers, 332-334.
+
+  Angers, Castle of, 333.
+
+  Angers, David d', 82.
+
+  Angles, Count, 151.
+
+  Anjou, 333.
+
+  Anjou, Duc d', 365.
+
+  Anne of Austria, 115, 266, 289, 312.
+
+  "Anthony," see Works of Dumas.
+
+  Antwerp, 365.
+
+  Aramis, 45, 49, 246, 247, 252, 300, 329.
+
+  Aramitz, Henry d', see Aramis.
+
+  Arc de Triomphe, 147.
+
+  Arc de Triomphe du Carrousel, 135.
+
+  Arc de Triomphe d'Etoile, 88, 138, 192.
+
+  Argenteuil, 314.
+
+  Arles, 347, 349.
+
+  Arnault, Lucien, 18, 71.
+
+  Arras, 49, 324.
+
+  Artagnan, 49.
+
+  Artagnan, see D'Artagnan.
+
+  Asnieres, 171.
+
+  Athos, 45, 49, 246-248, 252, 313.
+
+  Auber, 117.
+
+  "Au Fidele Berger," 205.
+
+  Augennes, Jacques d', 315.
+
+  Augennes, Regnault d', 315.
+
+  "Au Grand Roi Charlemagne," 248.
+
+  Aumale, D', 323.
+
+  Auteuil, 87.
+
+  Auvergne, 321.
+
+  Auxerre, 159.
+
+  Avedick, 289.
+
+  Avenel, Georges, 101-103.
+
+  Avenue de la Grande Armee, 139.
+
+  Avenue de l'Opera, 114, 149.
+
+  Avenue de Villiers, 124.
+
+  Avignon, 359.
+
+
+  Balzac, 69, 82, 127, 363.
+
+  Barbes, 179.
+
+  Barbizon, 71.
+
+  Barras, 74.
+
+  Barrere, 143.
+
+  Bartholdi's "Liberty," 11.
+
+  Bastille, The, 149, 152, 173, 196, 225, 241, 263, 268, 278, 284-287,
+      292, 295, 296.
+
+  Bath, 76.
+
+  Batignolles, 87.
+
+  Batz, Baron de, 50.
+
+  Batz de Castlemore, Charles de, see D'Artagnan.
+
+  Baudry, 129, 151.
+
+  Bauville, Theodore de, 51.
+
+  Bavaria, 77.
+
+  Beaucaire, 347-349.
+
+  Beaufort, Duke of, 289.
+
+  Beausire, 254.
+
+  Belgium, 8, 92, 365.
+
+  Bellegarde, 347.
+
+  Belle Ile, 327-329.
+
+  Belleville, 87.
+
+  Bellune, Duc de, 84.
+
+  Beranger, 3, 68, 71.
+
+  Bercy, 87.
+
+  Bernhardt, Sara, 191.
+
+  Berry, Duchesse de, 152.
+
+  Bertuccio, 328.
+
+  Besancon, 92.
+
+  Bethune, 372.
+
+  Beuzeval, Horace de, 371.
+
+  Biard, 224.
+
+  "Bibliotheque Royale," 50, 131, 135, 253.
+
+  Bicetre, 234.
+
+  Bigelow, John, 125.
+
+  Billot, Father, 18, 23, 24.
+
+  "Black Tulip," see Works of Dumas.
+
+  _Blackwood's Magazine_, 257.
+
+  Blanc, Louis, 75, 179.
+
+  Blanqui, 179.
+
+  Blois, 155, 246, 330-332.
+
+  Blois, Chateau de, 330, 331.
+
+  Bohemia, 95, 96.
+
+  Boieldieu, 82, 153.
+
+  Bois de Boulogne, 89, 150, 192, 231, 298, 319.
+
+  Bois de Meudon, 303.
+
+  Bois de Vincennes, 89, 147, 150, 319.
+
+  Boissy, Adrien de, 255, 256.
+
+  Bondy, 315.
+
+  Bordeaux, 151, 154, 159, 342.
+
+  Borgias, The, 372.
+
+  Boulevard des Italiens, 92, 93, 114, 187, 213, 231.
+
+  Boulevard du Prince Eugene, 140.
+
+  Boulevard Henri Quatre, 285.
+
+  Boulevard Magenta, 140, 149.
+
+  Boulevard Malesherbes, 103, 140, 149.
+
+  Boulevard Raspail, 252.
+
+  Boulevard Sebastopol, 140, 149.
+
+  Boulevard St. Denis, 135, 147.
+
+  Boulevard St. Germain, 128, 140, 149, 252.
+
+  Boulevard St. Martin, 135, 147, 149.
+
+  Boulogne, 160.
+
+  Bourges, 155.
+
+  Bourg, L'Abbe, 130.
+
+  Bourgogne, 105.
+
+  Bourse, The, 89, 91.
+
+  Brabant, Duc de, 365.
+
+  Brentano, 360.
+
+  Brest, 90, 91, 160.
+
+  Breteuil, De, 296.
+
+  Bridges:
+    Cahors, 172.
+    Lyons, 172.
+    Orthos, 172.
+    St. Benezet d'Avignon, 172.
+    See under Pont also.
+
+  Brillat-Savarin, 102, 103.
+
+  Brinvilliers, Marquise de, 286, 287.
+
+  Brionze, 79.
+
+  Brittany, 327, 328.
+
+  Broggi, Paolo, 118.
+
+  Brown, Sir Thomas, 142.
+
+  Brozier, 31.
+
+  Brussels, 44, 76.
+
+  "Bruyere aux Loups," 23.
+
+  Buckingham, 322.
+
+  Buckle, 96.
+
+  Bureau d'Orleans, 8, 31, 58, 84, 187.
+
+  Burns, 43.
+
+  Bussy, 333.
+
+  Buttes Chaumont, 190, 314.
+
+  Byron, 43.
+
+
+  "Cachot de Marie Antoinette," 238.
+
+  Caderousse, 347, 349.
+
+  Caen, 326.
+
+  Cafe de Paris, 111, 187, 189.
+
+  Cafe des Anglais, 118.
+
+  Cafe du Roi, 18.
+
+  Cafe Riche, 118.
+
+  Cagliostro, 295, 296.
+
+  Cahors, 351.
+
+  Cahors, Bridge of, 172.
+
+  Calais, 159, 160, 321-324, 327.
+
+  Calcutta, 76.
+
+  Calixtus II., 198.
+
+  Cambaceres, Delphine, 82.
+
+  Canebiere, The, 342.
+
+  Cantal, 321.
+
+  Capetians, The, 194.
+
+  "Capitaine Pamphile," see Works of Dumas.
+
+  "Capitaine Paul" (Paul Jones), see Works of Dumas.
+
+  Carcassonne, 139.
+
+  Carlyle, 69.
+
+  Carmelite Friary, 246, 252.
+
+  "Caserne Napoleon," 140.
+
+  Caspian Sea, The, 44.
+
+  Castle of Angers, 333.
+
+  Castle of Pierrefonds, 324.
+
+  Cathedral de Notre Dame (Chartres), 329.
+
+  Cathedral of Notre Dame de Rouen, 187.
+
+  "Catriona" (Stephenson), 361.
+
+  Caucasus, 8.
+
+  "Causeries," see Works of Dumas.
+
+  Caussidiere, Marc, 178, 179.
+
+  Cavaignac, General, 179.
+
+  Ceinture Railway, 89, 303.
+
+  Cenci, The, 285.
+
+  Chaffault, De, 46.
+
+  Chalet de Monte Cristo, see Residences of Dumas.
+
+  Chalons, 359.
+
+  Chambord, 332.
+
+  Chambre des Deputes, 8, 138, 167, 187.
+
+  Champs Elysees, 95, 136, 150.
+
+  Changarnier, General, 181.
+
+  Chanlecy, Charlotte Anne de, 50.
+
+  Chantilly, 297, 298.
+
+  Charenton, 87.
+
+  Charlemagne, 129, 193.
+
+  Charles I., 267.
+
+  Charles VI., 315, 325.
+
+  Charles VII., 131.
+
+  Charles VIII., 132.
+
+  Charles IX., 133, 212, 217, 236, 253, 263, 311, 320, 333.
+
+  Charles X., 156, 270.
+
+  Charles-le-Temeraire, 215.
+
+  Charpillon, M., 8.
+
+  Chartres, 329, 330.
+
+  Chartres, Cathedral de Notre Dame, 329.
+
+  Chartres, Duc de (Philippe d'Orleans), 267.
+
+  Chateaubriand, 68, 147.
+
+  Chateau de Blois, 330, 331.
+
+  Chateau d'If, 45, 339, 340, 343, 347.
+
+  Chateau de Rambouillet, 315.
+
+  Chateau de Rocca Petrella, 285.
+
+  Chateau de Vincennes, 319, 320.
+
+  Chateau of Madrid, 298, 319.
+
+  Chateau Neuf, 303, 312, 313.
+
+  Chateaurien, Rene de, 319.
+
+  Chatelet du Monte Cristo, 303.
+
+  Chatillon-sur-Seine, 169.
+
+  Chenier, Andre, 68, 71.
+
+  Cherbourg, 160.
+
+  "Cherubino et Celestine," see Works of Dumas.
+
+  "Cheval de Bronze," 172.
+
+  "Chevalier d'Harmental," see Works of Dumas.
+
+  "Chicot the Jester" ("La Dame de Monsoreau"), see Works of Dumas.
+
+  Childebert, 129, 212.
+
+  Childerie, 129.
+
+  Chopin, 82.
+
+  Christine of Sweden, 123.
+
+  Churches, see under Eglise.
+
+  Cimetiere des Innocents, 197, 221.
+
+  Cimetiere Pere la Chaise, see Pere la Chaise.
+
+  Cinq-Mars, 224.
+
+  Civil War, The, 50.
+
+  Claremont, 180.
+
+  Clement-Thomas, Gen., 227.
+
+  Clovis, 129.
+
+  "Clymnestre," 19.
+
+  "Coches d'Eau," 156.
+
+  Coconnas, 173.
+
+  Coligny, 260.
+
+  Coligny, _fils_, 224.
+
+  College des Quatre Nations, 135, 173.
+
+  "Colomba," 368.
+
+  Colonne de Juillet, 88.
+
+  Comedie Francaise, 190.
+
+  "_Commission des Monuments Historiques_," 278.
+
+  "_Commission du Vieux Paris_," 193.
+
+  Commune, The, 185, 192, 196, 227, 263, 264.
+
+  "Compagnie Generale des Omnibus," 153.
+
+  Compiegne, 24, 46, 246, 286, 297, 298, 317-319.
+
+  "Comtesse de Charny," see Works of Dumas.
+
+  Conciergerie, 92, 236, 238, 240, 241, 263, 286.
+
+  Conde, 224, 320.
+
+  Conflans-Charenton, 171.
+
+  Contades, Count G. de, 79.
+
+  Conti, Prince de, 90.
+
+  Corneille, 224.
+
+  Corot, 72, 73, 191.
+
+  Corsica, 8, 337, 351, 367.
+
+  "Corsican Brothers," see Works of Dumas.
+
+  Cosne, 155.
+
+  Couloir St. Hyacinthe, 228.
+
+  Courbevoie, 314.
+
+  Cour du Justice, 241.
+
+  "Count of Monte Cristo," see Works of Dumas.
+
+  Cours la Reine, 133.
+
+  Crepy-en-Valois, 15, 16, 24, 46, 83, 315, 317, 318, 321.
+
+  "Crimes Celebres" ("Celebrated Crimes"), see Works of Dumas.
+
+  Cul-de-sac des Marchands des Chevaux, 286.
+
+  "Cyrano de Bergerac," 43.
+
+
+  Dammartin, 16, 24, 317.
+
+  Damploux, 24.
+
+  Danglars, Baron, 109, 231, 261.
+
+  Dantes, 229, 231, 328, 344, 346, 347, 355.
+
+  Darnley, 324.
+
+  Daubonne, 214.
+
+  Daudet, 3, 349.
+
+  David, 82.
+
+  "David Copperfield," 34.
+
+  D'Alegres, The, 224.
+
+  D'Angers, David, 82.
+
+  D'Anjou, Duc, 365.
+
+  D'Aramitz, Henry, see Aramis.
+
+  D'Artagnan, 45, 48-50, 56, 127, 200, 201, 206, 214, 223, 225, 245-247,
+      252, 267, 313, 328, 329.
+
+  D'Artagnan Romances, 148, 171, 195, 205, 215, 225, 235, 247, 254, 266,
+      312, 330, 331.
+
+  D'Augennes, Jacques, 315.
+
+  D'Augennes, Regnault, 315.
+
+  D'Aumale, 323.
+
+  De Batz, Baron, 50.
+
+  De Batz de Castlemore, Charles, see D'Artagnan.
+
+  De Bauville, Theodore, 51.
+
+  De Bellune, Duc, 84.
+
+  De Berry, Duchesse, 152.
+
+  De Beuzeval, Horace, 371.
+
+  De Boissy, Adrien, 255, 256.
+
+  De Brabant, Duc, 365.
+
+  De Breteuil, 296.
+
+  De Brinvilliers, Marquise, 286, 287.
+
+  De Chaffault, 46.
+
+  De Chanlecy, Charlotte Anne, 50.
+
+  De Chartres, Duc (Philippe d'Orleans), 267.
+
+  De Chateaurien, Rene, 319.
+
+  De Contades, Count G., 79.
+
+  De Conti, Prince, 90.
+
+  D'Enghien, Duc, 320.
+
+  D'Estrees, Gabrielle, 228, 260.
+
+  De Flesselles, 196.
+
+  De France, Henriette, 267.
+
+  De Franchi, 213, 232, 255, 367.
+
+  De Franchi, Louis, 319.
+
+  De Genlis, Madame, 363.
+
+  De Guise, Cardinal, 323.
+
+  De Guise, Duc, 224, 253, 278, 301, 323.
+
+  De Guise, Duchesse, 122, 323.
+
+  De Jallais, Amedee, 232.
+
+  De Joyeuse, Admiral, 365.
+
+  De la Mole, 212.
+
+  De la Motte, Madame, 228, 241, 307.
+
+  De Launay, 284.
+
+  De Leuven, Adolphe, 14, 16, 18.
+
+  De Lesdequieres, Duchesse, 293.
+
+  De Longueville, Madame, 224.
+
+  De Marsillac, Prince, 90.
+
+  De Mauge, Marquis, 214.
+
+  De Maupassant, Guy, 228.
+
+  De Medici, Marie, 133, 224, 260.
+
+  De Medici, Catherine, 208, 212, 264.
+
+  De Merle, 18.
+
+  De Meulien, Pauline, 371.
+
+  De Montford, Comtes, 315.
+
+  De Montmorenci, Duc, 255.
+
+  De Montpensier, Duc, 45.
+
+  De Morcerf, Albert, 369.
+
+  De Morcerf, Madame, 358.
+
+  De Musset, Alfred, 68, 82, 95, 123.
+
+  De Nemours, M., 323.
+
+  De Nerval, Gerard, 123.
+
+  De Nevers, Duchesse, 197.
+
+  D'Orleans, Louis, 324.
+
+  De Poissy, Gerard, 130.
+
+  De Poitiers, Diane, 260.
+
+  De Portu, Jean, see Porthos.
+
+  De Retz, Cardinal, 320.
+
+  De Richelieu, see Richelieu.
+
+  De Rohan, 37, 224.
+
+  De Sevigne, Madame, 102, 223.
+
+  De Sillegue, Colonel, 49.
+
+  De Sillegue d'Athos, Armand, see Athos.
+
+  De Sorbonne, Robert, 244.
+
+  De Ste. Croix, Gaudin, 286.
+
+  De Talleyrand, Henri, 214.
+
+  De Treville, 49, 246, 251.
+
+  De Valois, see under Valois.
+
+  De Vigny, 68.
+
+  De Villefort, 261, 340.
+
+  De Villemessant, 52.
+
+  De Volterre, Ricciarelli, 224.
+
+  De Wardes, 322.
+
+  De Windt, Cornelius, 361.
+
+  De Windt, Jacobus, 361.
+
+  De Winter, Lady, 223.
+
+  Debret, 117.
+
+  Decamps, 191.
+
+  Delacroix, 73, 82, 97, 191.
+
+  Delavigne, 18, 82.
+
+  Delrien, 18.
+
+  Demidoff, Prince, 189.
+
+  "Dernier Jour d'un Condamne," 239.
+
+  Desaugiers, 31.
+
+  Desbordes-Valmore, Madame, 70.
+
+  Descamps, Gabriel, 221.
+
+  Desmoulins, Camille, 268.
+
+  Dibdin, 150.
+
+  Dickens, Charles, 34.
+
+  "Dictionnaire de Cuisine," see Works of Dumas.
+
+  Dieppe, 8, 66.
+
+  "Director of Evacuations at Naples," 45, 57.
+
+  "Dix-huit Mois a St. Petersburgh," see Works of Dumas.
+
+  Don Quixote, 245.
+
+  Dore, Gustave, 123, 140, 149.
+
+  Douai, 49.
+
+  Dover, 154, 322.
+
+  _Drapeau Blanc_, 31.
+
+  Ducercen, 313.
+
+  Ducis, 121.
+
+  Dujarrier-Beauvallon, 75-77.
+
+  Dumas:
+    Monuments to, see under Monuments.
+    Residences of, see under Residences.
+    Title of, see under Title.
+    Travels of, see under Travels.
+    Works of, see under Works.
+
+  Dumas, General, Marquis de la Pailleterie, 26, 27, 47.
+
+  Dumas, _fils_, 64, 66, 67, 75, 78, 79, 81, 121, 124.
+
+  Duprez, 117.
+
+
+  Ecole des Beaux Arts, 244.
+
+  Ecole de Droit, 136, 183, 244.
+
+  Ecole de Medicine, 244.
+
+  "Ecole des Viellards," 18.
+
+  Ecole Militaire, 136.
+
+  Edict of Nantes, 334.
+
+  Eglise de la Madeleine, 88, 138, 149, 153.
+
+  Eglise de Notre Dame, 86, 129, 167, 198, 235, 263, 286.
+
+  Eglise de St. Gervais, 132.
+
+  Eglise de St. Merry, 132.
+
+  Eglise de St. Paul et St. Louis, 133.
+
+  Eglise St. Etienne du Mont, 167, 253, 254.
+
+  Eglise St. Eustache, 192.
+
+  Eglise St. Germain l'Auxerrois, 132, 212, 260.
+
+  Eglise St. Innocents, 142, 144, 223.
+
+  Eglise St. Jacques, 198.
+
+  Eglise St. Roch, 134.
+
+  Eglise St. Severin, 167.
+
+  Eglise St. Sulpice, 167.
+
+  "Eighteen Months at St. Petersburg," 367.
+
+  Elba, 25, 219, 337.
+
+  Elizabeth, 365.
+
+  Elysee, The, 25, 103.
+
+  Enghien, Duc d', 320.
+
+  England, 8, 50.
+
+  Epinac, 160.
+
+  Ermenonville, 24.
+
+  Esplanade des Invalides, 150.
+
+  Estaminet du Divan, 118.
+
+  Estrees, Gabrielle d', 228, 260.
+
+  Etaples, 372.
+
+
+  "Fabrique des Romans," 38.
+
+  Falaise, 326.
+
+  Faubourg St. Denis, 220.
+
+  Faubourg St. Germain, 83, 132.
+
+  Faubourg St. Honore, 83.
+
+  Fernand, 261.
+
+  Ferry, Gabriel, 233.
+
+  Feval, Paul, 363.
+
+  _Figaro, The_, 52.
+
+  Flanders, 321.
+
+  Flaubert, Gustave, 77.
+
+  Flesselles, De, 196.
+
+  Fleury, General, 76.
+
+  Florence, 115.
+
+  Fontainebleau, 155, 297, 298, 300, 302, 303, 315.
+
+  Fontaine des Innocents, 145, 187, 193, 222.
+
+  Foret de Compiegne, 318, 319.
+
+  Foret de l'Aigue, 286.
+
+  Forgues, 363.
+
+  Fort de Vincennes, 320.
+
+  Fort Lamalge, 350.
+
+  "Forty-Five Guardsmen," see Works of Dumas.
+
+  Fosses de la Bastille, 137.
+
+  Fouque, 360.
+
+  Fouquet, 199, 289, 298, 300, 320.
+
+  Foy, General, 31, 82, 84.
+
+  France, Henriette de, 267.
+
+  Franchi, De, 213, 232, 255, 367.
+
+  Franchi, Louis de, 319.
+
+  Francis, 18.
+
+  Francois I., 131-134, 144, 197, 198, 260, 313.
+
+  Franco-Prussian War, 57, 164, 192.
+
+  Fronde, 89.
+
+
+  "Gabriel Lambert," see Works of Dumas.
+
+  Gaillardet, 238.
+
+  Gare de l'Est, 162.
+
+  Gare du Nord, 162.
+
+  Gare St. Lazare, 161.
+
+  Garibaldi, 37.
+
+  Garnier, 190.
+
+  Gascony, 50.
+
+  Gaston of Orleans, 331.
+
+  Gautier, 68, 71, 72, 123.
+
+  Gay, Mme. Delphine, 70.
+
+  Genlis, Madame de, 363.
+
+  "Georges," see Works of Dumas.
+
+  Germany, 8, 360.
+
+  Girondins, The, 194.
+
+  Glinel, Charles, 26.
+
+  Godot, 151.
+
+  Goethe, 68, 360.
+
+  "Golden Lion," 316.
+
+  Gondeville, 24.
+
+  Gouffe, Armand, 31.
+
+  Goujon, Jean, 132, 223, 260.
+
+  Granger, Marie, 327.
+
+  Grenelle, 95.
+
+  Grisier, 75, 367.
+
+  "Guido et Genevra" (Halevy), 54.
+
+  Guilbert, 205.
+
+  Guise, Cardinal de, 323.
+
+  Guise, Duc de, 224, 253, 278, 301, 323.
+
+  Guise, Duchesse de, 122, 323.
+
+  Guizot, 69.
+
+
+  Halevy, 54, 70, 117.
+
+  Hamerton, Philip Gilbert, 168.
+
+  Hamilton, 324.
+
+  "Hamlet," 121.
+
+  Haramont, 23.
+
+  Hautes-Pyrenees, 49.
+
+  Havre, 150, 160, 169, 179, 180, 326.
+
+  Henri I., 323.
+
+  Henri II., 132, 172, 303, 312, 323.
+
+  Henri III., 122, 133, 172, 323, 333.
+
+  Henri IV., 133, 134, 143, 217, 224, 235, 236, 260, 303, 312, 320, 323,
+      351, 354.
+
+  Henri V., 181.
+
+  "Henri III. et Sa Cour," see Works of Dumas.
+
+  "Hernani," 122.
+
+  Herold, 82.
+
+  Hesdin, 372.
+
+  "Histoire de Jules Cesar" (Napoleon III.), 73.
+
+  "Histoire des Prisons de Paris," 238.
+
+  "History of Civilization" (Buckle), 96.
+
+  Hoffman, 360.
+
+  Honfleur, 169, 179.
+
+  Hopital des Petites Maisons, 132.
+
+  Hopital du St. Jacques du Haut Pas, 133.
+
+  Hotel Boulainvilliers, 228.
+
+  Hotel Chevreuse, 127, 128, 252.
+
+  Hotel D'Artagnan, 214.
+
+  Hotel de Bourgogne, 133, 215.
+
+  Hotel de Choiseul, 115.
+
+  Hotel de Cluny, 167.
+
+  Hotel de Coligny, 278.
+
+  Hotel de Duc de Guise, 278.
+
+  Hotel de France, 248.
+
+  Hotel des Invalides, 135, 149, 167.
+
+  "Hotel de la Belle Etoile," 208, 212.
+
+  Hotel de la Monnaie, 136, 248.
+
+  Hotel de Louvre, 102.
+
+  Hotel de Mercoeur, 266.
+
+  Hotel des Montmorencies, 278.
+
+  Hotel des Mousquetaires, 207, 210.
+
+  Hotel des Postes, 154.
+
+  Hotel de Soissons, 133.
+
+  Hotel de Venise, 234.
+
+  Hotel de Ville, 132, 137, 191, 196, 197, 204, 318.
+
+  Hotel du Vieux-Augustins, 16.
+
+  Hotel la Tremouille, 251.
+
+  Hotel Longueville, 89.
+
+  "Hotel Picardie," 214.
+
+  Hotel Rambouillet, 266.
+
+  Hotel Richelieu, 266.
+
+  Hugo, Victor, 3, 37, 68, 71, 73, 79, 82, 122, 127, 155, 156, 158, 223,
+      239, 363.
+
+  Hugo, Pere, 82.
+
+  Huntley, 324.
+
+  Hyeres, 351.
+
+
+  Ile de la Cite, 86, 131, 133, 165, 169, 172, 235.
+
+  Ile St. Louis, 165, 169.
+
+  "Impressions du Voyage," see Works of Dumas.
+
+  "Inn of the Beautiful Peacock," 300.
+
+  Irving, Washington, 41.
+
+  Island of Monte Cristo, 338.
+
+  Isle of France (Mauritius), 46.
+
+  Italy, 8, 44.
+
+  Ivry, 88.
+
+
+  Jacquot, 51.
+
+  Jallais, Amedee de, 233.
+
+  James II., 303.
+
+  Janin, Jules, 363.
+
+  Jardin des Plantes, 134, 149.
+
+  "Jeanne d'Arc," see Works of Dumas.
+
+  Jean-sans-Peur, 215.
+
+  Jerome, Prince, 271.
+
+  Jerusalem, 369.
+
+  Jesuit College, 132.
+
+  "Jeune Malade," 205.
+
+  Joanna of Naples, 369.
+
+  Joigny, 46, 58.
+
+  Jourdain, Marshal, 84.
+
+  Jouy, 18.
+
+  Joyeuse, Admiral de, 365.
+
+  "Jugurtha," 45.
+
+  Jussac, 252.
+
+
+  Karr, Alphonse, 363.
+
+  "Kean," see Works of Dumas.
+
+  Kipling, 41.
+
+  Kotzebue, 285.
+
+
+  L'Abbe Metel de Bois-Robert, 228.
+
+  La Beauce, 166.
+
+  La Brie, 166.
+
+  Lachambeaudie, 82.
+
+  Lacenaire, 240.
+
+  La Chapelle, 87.
+
+  La Chatre, 70.
+
+  "La Chevrette," 214.
+
+  La Cite, 129, 130, 166, 167, 235, 247.
+
+  "La Compagne Lafitte et Caillard," 157.
+
+  Lacroix, Paul, 362.
+
+  "La Dame aux Camelias," 79.
+
+  La Dame aux Camelias, see Plessis, Alphonsine, 78.
+
+  "La Dame de Monsoreau" ("Chicot the Jester"), see Works of Dumas.
+
+  Ladislas I. of Hungary, 369.
+
+  "La Feuille" (Arnault), 71.
+
+  _La France_, 163.
+
+  Lamartine, 68, 71, 179.
+
+  Lambert, Gabriel, 326, 327.
+
+  Langeais, 332.
+
+  "La Pastissier Francaise," 104.
+
+  "La Pate d'Italie," 93.
+
+  _La Presse_, 75.
+
+  _La Revue_, 54, 64.
+
+  La Rochelle, 49.
+
+  La Roquette, 263, 278.
+
+  Lassagne, 31.
+
+  Latin Quarter, see Quartier Latin.
+
+  "La Tour de Nesle," see Works of Dumas.
+
+  Launay, De, 284.
+
+  La Ville, 130, 166, 167.
+
+  La Villette, 24, 87, 137.
+
+  Lebrun, Madame, 179.
+
+  "Le Chatelet," 204.
+
+  Leclerc, Captain, 229.
+
+  "Le Collier de la Reine" (The Queen's Necklace), see Works of Dumas.
+
+  Lecomte, General, 227.
+
+  _Le Gaulois_, 163.
+
+  Legislative Assembly, 183.
+
+  _Le Livre_, 79.
+
+  Lemarquier, 239.
+
+  Lemercier, 19.
+
+  _Le Mousquetaire_, 44.
+
+  "Le Nord" Railway, 160.
+
+  _Le Peuple_, 98.
+
+  Lescot, Pierre, 222, 260.
+
+  Lesdequieres, Duchesse de, 293.
+
+  "Les Francaises," 157.
+
+  Les Grandes Eaux, 303.
+
+  Les Halles, 206, 222, 263.
+
+  "Les Pecheurs du Filet," see Works of Dumas, 368.
+
+  "L'Est" Railway, 160.
+
+  Les Ternes, 87.
+
+  "Les Trois Mousquetaires," see Works of Dumas.
+
+  "Le Stryge," 198.
+
+  Leuven, Adolphe de, 14, 16, 18.
+
+  _L'Homme-Libre_, 75.
+
+  Lille, 49, 160.
+
+  "L'Image de Notre Dame," 199, 201.
+
+  Limerick, 76.
+
+  L'Institut, 167.
+
+  Lisbon, 77.
+
+  Lisieux, 326.
+
+  Loire, The, 155, 160, 168, 329-331.
+
+  London, 76, 105, 150, 154, 179, 189, 321.
+
+  London Tower, 185.
+
+  Longe, 79.
+
+  Longueville, Madame de, 224.
+
+  "L'Orleans" Railway, 160, 161, 192.
+
+  "L'Ouest" Railway, 160.
+
+  Louis I., 77.
+
+  Louis IV., 220.
+
+  Louis VII., 130, 173.
+
+  Louis VIII., 144.
+
+  Louis XI., 12, 131.
+
+  Louis XII., 131, 134.
+
+  Louis XIII., 133, 214, 224, 266.
+
+  Louis XIV., 50, 104, 115, 134, 135, 143, 224, 260, 267, 288, 289, 303,
+      304, 312, 328, 330, 331.
+
+  Louis XV., 135, 166, 318.
+
+  Louis XVI., 196, 264, 315.
+
+  Louis XVIII., 143, 154, 262.
+
+  Louis-Philippe, 31, 38, 58, 69, 72, 86, 88, 104, 116, 153, 180, 193,
+      268, 270.
+
+  Louvre, The, 89, 132, 135, 136, 167, 173, 175, 184, 187, 195, 208, 212,
+      215, 221, 241, 255, 258-264, 315.
+
+  Loyola, Ignatius, 227.
+
+  Lulli, 115.
+
+  L'Universite, 127, 130, 166, 167, 244, 248.
+
+  _Lutece_, 86.
+
+  Luxembourg, The, 133, 167, 187, 191, 245-247, 251, 253-255.
+
+  Luxembourg, Gardens of the, 70, 150, 253.
+
+  Lycee Henri Quatre, 253.
+
+  Lyons, 157, 159, 172, 301, 342, 359.
+
+
+  Mackeat (Maquet), Augustus, 39-42.
+
+  Madeleine, The (Church), 88, 138, 149, 153.
+
+  Madelonnettes, The, 134.
+
+  Madrid, 159.
+
+  Madrid, Chateau of, 298, 319.
+
+  Maestricht, 50.
+
+  Magazin St. Thomas, 147.
+
+  "_Maison Dumas et Cie_," 40, 51.
+
+  "Maitre Adam le Calabrais," see Works of Dumas.
+
+  Malmesbury, Lord, 76.
+
+  Mandrin, Pierre, 91.
+
+  "Man in the Iron Mask, The," 288, 289.
+
+  Mantes, 165, 169.
+
+  Marat, Jean Paul, 229.
+
+  Marcel, Etienne, 130, 193.
+
+  Margot, 236.
+
+  "Marguerite de Valois," see Works of Dumas.
+
+  Marie Antoinette, 50, 236, 238.
+
+  Marne, 165.
+
+  Marrast, Armand, 179.
+
+  Mars, Mlle., 123.
+
+  Marseilles, 155, 219, 229, 261, 339-342, 349, 351, 358.
+
+  Marsillac, Prince de, 90.
+
+  Mattioli, 290.
+
+  Mauge, Marquise de, 214.
+
+  Maupassant, Guy de, 228.
+
+  Mauritius (Isle of France), 46.
+
+  Mazarin, 37, 115, 211, 267, 273, 275.
+
+  "Mechanism of Modern Life," 101.
+
+  Medici, Marie de, 133, 224, 260.
+
+  Medici, Catherine de, 208, 212, 264.
+
+  "Meditations" (Lamartine), 68.
+
+  Mediterranean, The, 45, 327, 336, 340.
+
+  "Memoires," see Works of Dumas.
+
+  "Memoires de M. d'Artagnan," 49.
+
+  "Memoires d'un Maitre d'Armes," see Works of Dumas.
+
+  Menilmontant, 87.
+
+  Mennesson, 14.
+
+  Merimee, 69, 159, 368.
+
+  Merle, De, 18.
+
+  Merovee, 129.
+
+  Meryon, 126-128, 198.
+
+  "Mes Betes," see Works of Dumas.
+
+  "Messageries a Cheval," 157.
+
+  "Messageries Royale," 157.
+
+  "Metropolitain," 204.
+
+  Metz, 157.
+
+  Meulan, 165.
+
+  Meulien, Pauline de, 371.
+
+  Meyerbeer, 117.
+
+  Michelangelo, 224.
+
+  Michelet, 69, 82, 98-100.
+
+  Mignet, 69.
+
+  Millet, 71.
+
+  Minister of the Interior, 183.
+
+  Mirabeau, 320.
+
+  Mohammed Ali, 88.
+
+  Mole, De la, 212.
+
+  Moliere, 224.
+
+  Molle, Mathieu, 211.
+
+  Monastere des Feuillants, 133.
+
+  Monet, 187.
+
+  Monmouth, Duke of, 289.
+
+  Monselet, Charles, 163.
+
+  Monstrelet, 215.
+
+  Montargis, 155.
+
+  "Monte Cristo," see Works of Dumas.
+
+  Monte Cristo, Island of, 45, 338.
+
+  Montez, Lola, 76, 78.
+
+  Montford, Comtes de, 315.
+
+  Montmartre, 87, 142, 146, 188, 190, 227, 314.
+
+  Montmartre, Abbaye of, 227.
+
+  Montmorenci, Duc de, 255.
+
+  Montpensier, Duc de, 45.
+
+  Mont Valerien, 88.
+
+  Monuments to Dumas, 140, 149.
+
+  Morcerf, Mme. de, 358.
+
+  Morcerf, Albert de, 369.
+
+  Morrel, House of, 349.
+
+  Motte, Mme. de la, 228, 241, 307.
+
+  Moulin Rouge, 227.
+
+  Moulin de la Galette, 227.
+
+  Mount of Martyrs, 227.
+
+  Mueller, 241.
+
+  Munier, Georges, 46.
+
+  Murat, 351.
+
+  "Murat," see Works of Dumas.
+
+  Muerger, Henri, 96.
+
+  Musee, Cluny, 5.
+
+  Musset, Alfred de, 68, 82, 95, 123.
+
+  "Mysteries of Paris," 99.
+
+
+  Nadaud, Gustave, 96.
+
+  Nancy, 157, 160.
+
+  Nantes, 151, 334-336.
+
+  Nantes, Edict of, 334.
+
+  Nanteuil, 24.
+
+  Naples, 8, 368.
+
+  Napoleon I., 1, 25, 74, 88, 116, 137, 138, 192, 193, 218, 219, 244, 260,
+      265, 270, 313, 325, 367.
+
+  Napoleon III., 54, 73, 74, 89, 102, 144, 180, 181, 183-185, 260, 265,
+      271, 315, 325.
+
+  Napoleon, Jerome, 45.
+
+  Nemours, De, 323.
+
+  Nerval, Gerard de, 123.
+
+  Netherlands, The, 365.
+
+  Nevers, Duchesse de, 197.
+
+  New York, 11, 105.
+
+  Nodier, Charles, 69, 82, 104, 156.
+
+  Nogaret, 238.
+
+  Nogent, 88.
+
+  Noirtier, M., 229.
+
+  Normandy, 326, 327.
+
+  Notre Dame, see under Eglise.
+
+  Notre Dame de la Garde (Marseilles), 342.
+
+
+  Obelisk, The, 88.
+
+  Observatoire, The, 135, 244.
+
+  Odeon, The, 123, 167, 187.
+
+  "Odes et Ballades" (Hugo), 68.
+
+  "Oedipus," 122.
+
+  "Old Mortality," 121.
+
+  Oliva, 255.
+
+  Oloron, 49.
+
+  Omnibus, Companies:
+    "Compagnie Generale des Omnibus," 153.
+    "La Compagne Lafitte et Caillard," 157.
+    "Les Francaises," 157.
+    "Messageries Royales," 157.
+    "Messageries a Cheval," 157.
+
+  "Opera," The, 89, 91, 95, 114, 115, 118, 190.
+
+  Opera Comique, 190.
+
+  Oratoire, The, 134.
+
+  Orleans, 155, 160, 237, 330.
+
+  Orleans, House of, 181, 324.
+
+  Orthez, 49.
+
+  Orthon, 208.
+
+  Orthos, 172.
+
+  Orthos, Bridge of, 172.
+
+  "Otho the Archer," 360.
+
+  Ourcq (river), 137.
+
+
+  Pailleterie, Marquis de la, see Dumas, General.
+
+  Palais Bourbon, 187.
+
+  Palais Cardinal, 134, 266.
+
+  Palais de Justice, 236, 239, 241.
+
+  Palais de la Bourse, 137.
+
+  Palais de l'Industrie, 141.
+
+  Palais de la Revolution, 270.
+
+  Palais des Arts, 173.
+
+  Palais des Beaux Arts, 138, 143, 238.
+
+  Palais des Tournelles, 133.
+
+  Palais National, 183.
+
+  Palais Royale, 16, 31, 95, 115, 134, 167, 183, 187, 224, 228, 246, 247,
+      266-273, 275.
+
+  Panorama Colbert, 148.
+
+  Panorama Delorme, 148.
+
+  Panorama de l'Opera, 148.
+
+  Panorama du Saumon, 148.
+
+  Panorama Jouffroy, 148.
+
+  Panorama Vivienne, 148.
+
+  Pantheon, The, 37, 136, 167, 187, 252, 253.
+
+  Paraclet, 81.
+
+  Parc Monceau, 228.
+
+  "Paris-Lyon et Mediterranee" (P. L. M.) Ry., 160, 161, 192.
+
+  "Pascal Bruno," see Works of Dumas.
+
+  Passerelle, Constantine, 170.
+
+  Passerelle de l'Estacade, 170.
+
+  Passerelle St. Louis, 170.
+
+  Passy, 87, 150.
+
+  Pau, 354.
+
+  "Pauline," see Works of Dumas.
+
+  "Paul Jones" ("Capitaine Paul"), see Works of Dumas.
+
+  Pennell, Joseph, 168.
+
+  Pere la Chaise, 81, 142, 146, 188, 239, 340.
+
+  Perpignan, 372.
+
+  Petit Pont, 170.
+
+  Petits Augustins, 143.
+
+  Pfeffers, 371.
+
+  Philippe-Auguste, 130, 134, 144, 260.
+
+  Phoebus, Gaston, 354.
+
+  Pierrefonds, 246, 317.
+
+  Pierrefonds, Castle of, 324.
+
+  Picardie, 321.
+
+  "Pilon d'Or," 205.
+
+  Pitou, Louis Ange, 18, 23, 24, 317.
+
+  Place Dauphine, 133, 235.
+
+  Place de Bourgogne, 182.
+
+  Place de la Bastille, 148, 167, 187, 225, 296.
+
+  Place de la Concorde, 136, 138, 148, 162, 193, 263.
+
+  Place de la Croix-Rouge, 252.
+
+  Place de la Greve, 166, 197-199, 201, 234, 239, 287.
+
+  Place de l'Hotel de Ville, 148, 197.
+
+  Place de la Madeleine, 194.
+
+  Place de la Nation, 147.
+
+  Place de la Revolution, 263.
+
+  Place de St. Sulpice, 148, 252.
+
+  Place des Victoires, 148.
+
+  Place des Vosges, 148, 223, 225.
+
+  Place du Carrousel, 89, 138, 148, 221.
+
+  Place du Chatelet, 148, 205, 286.
+
+  Place du Palais Bourbon, 148.
+
+  Place du Palais Royal, 148.
+
+  Place du Pantheon, 148.
+
+  Place Malesherbes, 123, 124, 140, 149.
+
+  Place Maubert, 286.
+
+  Place Royale, 133, 134, 148, 223-225.
+
+  Place St. Antoine, 225.
+
+  Place Vendome, 137, 148.
+
+  Plaine de St. Denis, 95.
+
+  Plessis, Alphonsine, (La Dame aux Camelias), 78.
+
+  Poe, E. A., 41, 43.
+
+  Poissy, Gerard de, 130.
+
+  Poitiers, Diane de, 260.
+
+  Pompeii, 5, 45, 57.
+
+  Pont Alexandre, 173.
+
+  Pont au Change, 135, 170, 171, 173.
+
+  Pont Audemer, 326.
+
+  Pont aux Doubles, 170.
+
+  Pont de l'Archeveche, 170.
+
+  Pont d'Arcole, 170.
+
+  Pont d'Austerlitz, 170.
+
+  Pont de Bercy, 170.
+
+  Pont de la Cite, 170.
+
+  Pont des Arts, 170, 172.
+
+  Pont de Sevres, 302.
+
+  Pont des Invalides, 88.
+
+  Pont du Carrousel, 88, 171, 235.
+
+  Pont du Garde, 347.
+
+  Pont du Pecq, 311, 314.
+
+  Pont l'Eveque, 327.
+
+  Pont, le Petit, 168.
+
+  Pont Louis XV., 173.
+
+  Pont Louis-Philippe, 88, 170.
+
+  Pont Maril, 170.
+
+  Pont Napoleon, 170.
+
+  Pont Neuf, 133, 134, 170, 171, 173.
+
+  Pont Notre Dame, 170.
+
+  Pont Royal, 135, 157.
+
+  Pont St. Michel, 170.
+
+  Pont Tournelle, 170.
+
+  Porette, Marguerite, 239.
+
+  Porte du Canal de l'Ourcq, 139.
+
+  Porte du Temple, 131.
+
+  Porte Marly, 314.
+
+  Porte St. Antoine, 221.
+
+  Porte St. Denis, 131, 220, 221.
+
+  Porte St. Honore, 131.
+
+  Porte St. Martin, 104, 113, 115, 153.
+
+  Porthos, 45, 49, 246, 247, 252, 324.
+
+  Portu, Jean de, see Porthos.
+
+  Prison du Grand Chatelet, 204.
+
+  Proudhon, M., 178.
+
+  Provence, 347, 351.
+
+  Puits, 80.
+
+  Puys, 8, 66.
+
+
+  Quai de Conti, 133, 170, 248.
+
+  Quai de la Greve, 166, 197, 199, 206.
+
+  Quai de la Megisserie, 133.
+
+  Quai de la Monnai, 172.
+
+  Quai de l'Arsenal, 133.
+
+  Quai de l'Ecole, 133, 173.
+
+  Quai de l'Horloge, 133, 236.
+
+  Quai de l'Hotel de Ville, 197, 206.
+
+  Quai des Augustins, 133.
+
+  Quai des Ormes, 197.
+
+  Quai des Orphelins, 133.
+
+  Quai d'Orleans, 343.
+
+  Quai d'Orsay, 138, 170.
+
+  Quai du Louvre, 170, 172.
+
+  Quai Voltaire, 170.
+
+  Quartier des Infants-Rouges, 228.
+
+  Quartier du Marais, 133.
+
+  Quartier Latin, 96, 185, 244.
+
+  "Quentin Durward," 13.
+
+
+  Rachel, 191.
+
+  Railways:
+    "Ceinture," 89, 303.
+    "L'Est," 160.
+    "Le Nord," 160.
+    "L'Orleans," 160, 161, 192.
+    "L'Ouest," 160, 303.
+    "P. L. M." (Paris-Lyon et Mediterranee), 160, 161, 192.
+
+  Rambouillet, 297, 298, 315, 316.
+
+  Ranke, 259.
+
+  Raspail, 179.
+
+  Ravaillac, 224.
+
+  Reade, Charles, 81.
+
+  "Regulus," 18.
+
+  Reims, 129, 156.
+
+  Rempart des Fosses, 130.
+
+  Renaissance, 132.
+
+  Residences of Dumas, 44, 93, 103, 112, 124, 147, 148, 150, 188, 220,
+      303.
+
+  Restaurant du Pavillon Henri Quatre, 160.
+
+  "Restoration," The, 87, 138, 154, 155.
+
+  Retz, Cardinal de, 520.
+
+  Revolutions, The, 4, 44, 136, 138, 140, 154, 164, 172, 178-180, 193,
+      196, 224, 227, 325.
+
+  _Revue des Deux Mondes_, 371.
+
+  Rhine, The, 8.
+
+  Rhone, 347, 349.
+
+  Richelieu, 37, 224, 225, 228, 244, 252, 266, 289.
+
+  Richelieu, Marechal, 109.
+
+  Rizzio, 324.
+
+  Roanne, 160.
+
+  "Robert le Diable," 116.
+
+  Robespierre, 324.
+
+  Robsart, Amy, 121.
+
+  Roche-Bernard, 329.
+
+  Rochefort, 18.
+
+  Rohan, De, 37, 224.
+
+  "Roi d'Yvetot" (Beranger), 71.
+
+  Roland, Madame, 235.
+
+  Rolle, 363.
+
+  Rollin, Ledru, 179.
+
+  Rossini, 82.
+
+  Rostand, 43.
+
+  Rouen, 77, 159, 160, 169, 327.
+
+  Rougemont, 31.
+
+  Rousseau, 7.
+
+  "Royal Tiger," 316.
+
+  Rubens, 191.
+
+  Rue Beaubourg (Le Beau-Bourg), 130.
+
+  Rue Beaujolais, 228.
+
+  Rue Bourtebourg (Le Bourg Thibourg), 130.
+
+  Rue Cassette, 246.
+
+  Rue Castiglione, 137, 147.
+
+  Rue Charlot, 228.
+
+  Rue Coq-Heron, 229-231.
+
+  Rue d'Amsterdam, 188.
+
+  Rue Dauphine, 133.
+
+  Rue de Bac, 72, 147.
+
+  Rue de Bethusy, 278.
+
+  Rue de Bons Enfants, 272.
+
+  Rue de Douai, 187.
+
+  Rue de Faubourg St. Denis, 220, 221.
+
+  Rue de Grenelle, 147.
+
+  Rue de l'Arbre-Sec, 206, 211.
+
+  Rue de la Chaussee d'Antin, 147, 231.
+
+  Rue de la Concorde, 183.
+
+  Rue de la Harpe, 246.
+
+  Rue de Lancry, 152.
+
+  Rue de la Martellerie, 215.
+
+  Rue de Lille, 255.
+
+  Rue de la Paix, 137, 147.
+
+  Rue de l'Universite, 147.
+
+  Rue de Rivoli, 140, 147, 148.
+
+  Rue des Ecoles, 140.
+
+  Rue des Fossoyeurs, 246, 252.
+
+  Rue des Lombards, 205.
+
+  Rue des Rosiers, 227.
+
+  Rue des Vieux-Augustins, 234.
+
+  Rue de Tivoli, 137.
+
+  Rue de Valois, 228.
+
+  Rue du Chaume, 278.
+
+  Rue du Helder, 213, 232, 255.
+
+  Rue du Louvre, 230.
+
+  Rue du Monte Blanc, 84.
+
+  Rue du Vieux-Colombier, 251, 252.
+
+  Rue Drouet, 95.
+
+  Rue Ferou, 246.
+
+  Rue Guenegard, 248.
+
+  Rue Herold, 234.
+
+  Rue Lafitte, 95.
+
+  Rue Lepelletier, 114.
+
+  Rue Louis le Grand, 94.
+
+  Rue Mathieu Molle, 212.
+
+  Rue Pelletier, 234.
+
+  Rue Pigalle, 187.
+
+  Rue Rambuteau, 92.
+
+  Rue Richelieu, 102, 112, 115, 147.
+
+  Rue Roquette, 225.
+
+  Rue Royal, 183.
+
+  Rue Servandoni, 246.
+
+  Rue Sourdiere, 228.
+
+  Rue St. Antoine, 131, 133, 147, 285.
+
+  Rue St. Denis, 220.
+
+  Rue St. Eleuthere, 227.
+
+  Rue St. Honore, 147, 228.
+
+  Rue St. Lazare, 188.
+
+  Rue St. Martin (Le Bourg St. Martin), 130.
+
+  Rue St. Roch, 148.
+
+  Rue Taitbout, 214, 231.
+
+  Rue Tiquetonne, 214, 246, 247.
+
+  Rue Vaugirard, 127, 246, 252.
+
+  Rue Vivienne, 147.
+
+  Rupert, Prince, 50.
+
+  Russia, 8, 44.
+
+
+  Sabot, Mother, 24.
+
+  Sainte Chapelle, 236.
+
+  Saint Foix, 135.
+
+  Salcede, 201.
+
+  Salon d'Automne, 191.
+
+  Salons, 161.
+
+  Salpetriere, The, 134.
+
+  Sand, George, 44, 70, 97, 188, 363.
+
+  Sand, Karl Ludwig, 285.
+
+  Saone, 168.
+
+  Sarcey, Francisque, 163.
+
+  Sardou, 122.
+
+  "Saul," 18.
+
+  Schiller, 360.
+
+  Scotland, 323.
+
+  Scott, Sir Walter, 13, 41, 74, 121, 360.
+
+  Scribe, Eugene, 70, 82, 187.
+
+  Sebastiani, General, 84.
+
+  Second Empire, 89, 138, 140, 153, 163, 193.
+
+  Second Republic, 89, 181.
+
+  Seine, The, 72, 98, 130, 137, 148, 156, 165-171, 173-175, 190, 248, 255,
+      302, 303, 311, 314.
+
+  Senlis, 317.
+
+  Sens, 46.
+
+  Sevigne, Madame de, 102, 223.
+
+  Seville, 76.
+
+  Shakespeare, 121, 122.
+
+  Sicily, 337, 369.
+
+  Sillegue, Colonel de, 49.
+
+  "Site d'Italie" (Corot), 72.
+
+  Smith, William, 179.
+
+  "Soir" (Corot), 72.
+
+  Soissons, 7.
+
+  Soldain, 259.
+
+  Sorbonne, 134, 167, 245.
+
+  Sorbonne, Robert de, 244.
+
+  Soulie, 68, 82, 121.
+
+  Soumet, 18.
+
+  Soyer, 103.
+
+  Spain, 8, 45, 160.
+
+  St. Bartholomew's Night, 259, 263.
+
+  St. Beauvet, 69.
+
+  St. Benezet d'Avignon, 172.
+
+  St. Cloud, 157, 314.
+
+  Ste. Croix, Gaudin de, 286.
+
+  St. Denis, 227, 314.
+
+  St. Denis, Abbey of, 142, 143.
+
+  St. Etienne-Andrezieux, 160.
+
+  Ste. Genevieve, 253, 254.
+
+  Ste. Genevieve, Abbey of 37, 136, 187, 253.
+
+  St. Germain, 44, 56, 58, 160, 267, 297, 298.
+
+  St. Germain, Abbot of, 166.
+
+  St. Germain des Pres, 130.
+
+  St. Germain-en-Laye, 303, 304, 310-315.
+
+  St. Germain l'Auxerrois, 187.
+
+  St. Gratien, 125.
+
+  St. Luc, Marquis, 255.
+
+  St. Megrin, 122.
+
+  St. Michel, 130.
+
+  St. Vincent de Paul, 224.
+
+  St. Victor, 130.
+
+  St. Waast, Abbey of, 324.
+
+  Stendhal, 155.
+
+  Sterne, 322.
+
+  Stevenson, R. L., 41, 44.
+
+  Strasbourg (monument), 138, 162.
+
+  Strasbourg, 157.
+
+  "Stryge, The," 127.
+
+  Stuart, Mary, 323.
+
+  Sue, Eugene, 69, 99, 363.
+
+  Switzerland, 8, 370.
+
+  "Sword of the Brave Chevalier," 251.
+
+  Sylla, 17.
+
+  Sylvestre's, 272.
+
+
+  Taglioni, Marie, 116, 117.
+
+  Talleyrand, Henri de, 214.
+
+  Talma, 17, 82, 121, 191.
+
+  Tarascon, 349.
+
+  Tastu, Mme. Amable, 70.
+
+  Thackeray, 44.
+
+  Thames, 168.
+
+  Theatre de la Nation, 183.
+
+  Theatre du Palais Royal, 77, 268.
+
+  Theatre Francaise, 16, 17, 121, 167, 183, 187.
+
+  "Theatre Historique," 44.
+
+  Theatre Italien, 133.
+
+  Theadlon, 18.
+
+  Theaulon, 31.
+
+  "The Conspirators," see Works of Dumas.
+
+  "The Queen's Necklace," (Le Collier de la Reine), see Works of Dumas.
+
+  "The Regent's Daughter," see Works of Dumas.
+
+  "The Sorbonne," 244.
+
+  "The Taking of the Bastille," see Works of Dumas.
+
+  "The Wandering Jew," 99.
+
+  "The Wolf-Leader," see Works of Dumas.
+
+  Thierry, Edouard, 155, 165.
+
+  Thiers, 69, 95.
+
+  "Third Republic," 193.
+
+  Titian, 191.
+
+  Title of Dumas, 45, 57, 58.
+
+  Touchet, Marie, 215, 217.
+
+  Toul, 160.
+
+  Toulon, 90, 91, 233, 326, 349, 351.
+
+  Toulouse, 159.
+
+  "Tour de Jean-sans-Peur," 214.
+
+  Tour de Nesle, 237.
+
+  Tour de St. Jacques la Boucherie, 197.
+
+  Tour du Bois, 131.
+
+  Tour Eiffel, 303, 314.
+
+  Tours, 332.
+
+  Tour St. Jacques, 140, 167, 187, 263.
+
+  Tower of London, 185.
+
+  "Travels," see Works of Dumas.
+
+  Travels of Dumas, 8, 44-46, 336, 337, 361, 364, 370, 371.
+
+  "Treasure Island," 42.
+
+  Treville, De, 49, 246, 251.
+
+  Trianon, The, 303.
+
+  Trocadero, 147.
+
+  Trouville, 325, 327, 371.
+
+  Tuileries, The, 72, 133, 137, 138, 150, 170, 176, 182, 184, 185, 261,
+      265.
+
+  Turenne, 90, 143, 224.
+
+
+  Universite, The, 167, 244.
+
+
+  Val-de-Grace, The, 134.
+
+  Valenciennes, 49.
+
+  Valois, House of, 12, 34, 38, 195, 318.
+
+  Valois, Marguerite de, 197, 287, 351, 354.
+
+  Valois Romances, 15, 44, 46, 148, 171, 195, 205, 215, 225, 235, 239,
+      254, 258, 259, 263, 266, 278, 312, 314, 354, 355.
+
+  Vandam, Albert, 6, 56, 76, 77, 94, 95, 116, 118.
+
+  Van Dyke, 191.
+
+  Vatel, 199.
+
+  Vermandois, Count of, 289.
+
+  Vernet, 191.
+
+  Vernon, 165, 169.
+
+  Veron, Doctor, 79, 111, 116, 117.
+
+  Versailles, 297, 298, 302-306.
+
+  Vesinet, 311.
+
+  "Vicomte de Bragelonne," see Works of Dumas.
+
+  Vidocq, 234.
+
+  Viennet, 18.
+
+  Vieux Chateau, 311, 312, 313, 314.
+
+  Vigny, De, 68.
+
+  Villefort, De, 261, 340.
+
+  Villemessant, De, 52.
+
+  Villers-Cotterets, 7, 14, 15, 18, 24, 25, 27, 33, 34, 46, 80, 315, 317,
+      318, 321.
+
+  Vincennes, 179, 315.
+
+  Vincennes, Chateau of, 298, 320.
+
+  Vincennes, Fort of, 320.
+
+  "Vingt Ans Apres" ("Twenty Years After"), see Works of Dumas.
+
+  Viollet-le-Duc, 144, 325.
+
+  Vivieres, 24.
+
+  Voltaire, 121, 122, 238, 288, 303.
+
+  Volterre, Ricciarelli de, 224.
+
+
+  Wardes, De, 322.
+
+  Warsaw, 76.
+
+  Waterloo, 25.
+
+  William III., 361.
+
+  William the Conqueror, 326.
+
+  Windt, Cornelius de, 361.
+
+  Windt, Jacobus de, 361.
+
+  Windsor, 154.
+
+  Winter, Lady de, 223.
+
+  Works of Dumas:
+    "Ange Pitou," 36.
+    "Antony," 29, 37.
+    "Black Tulip" ("La Tulipe Noire"), 38, 44, 360-362, 365.
+    "Capitaine Pamphile," 89, 221, 231, 360.
+    "Capitaine Paul" ("Paul Jones"), 38, 350.
+    "Causeries," 36, 103.
+    "Cherubino et Celestine," 367.
+    "Chevalier d'Harmental," 228.
+    "Chicot the Jester" ("La Dame de Monsoreau"), 29, 37, 38, 40, 207,
+        253, 255, 301, 319, 329, 332, 333.
+    "Comtesse de Charny," 223, 226, 229, 302, 303.
+    "Corsican Brothers," 89, 213, 231, 319, 360.
+    "Count of Monte Cristo," 29, 38-41, 44, 109, 218, 229, 261, 327, 328,
+        339, 340, 342, 343, 347, 355, 358, 361, 368, 369.
+    "Crimes Celebres" ("Celebrated Crimes"), 285, 286, 323, 350, 372.
+    "Dictionnaire de Cuisine," 63.
+    "Dix-huit Mois a St. Petersburgh," 364.
+    "Forty-Five Guardsmen," 201, 248, 351, 365.
+    "Gabriel Lambert," 89, 91, 231, 232, 350.
+    "Georges," 46.
+    "Henri III. et Sa Cour," 29, 121, 123.
+    "Impressions du Voyage," 36, 325, 364, 370.
+    "Jeanne d'Arc," 38.
+    "Kean," 29.
+    "La Tour de Nesle," 237.
+    "Les Pecheurs du Filet," 368.
+    "Les Trois Mousquetaires" ("The Three Musketeers"), 29, 38-41, 44, 48,
+        54, 75, 126, 127, 245, 247, 251, 252, 332, 361.
+    "Maitre Adam le Calabrais," 367.
+    "Marguerite de Valois," 173, 175, 198, 210, 212, 215, 221, 236, 257,
+        307, 310, 311, 320.
+    "Memoires," 14, 15, 17, 23, 25, 29, 32, 34, 36, 44, 70, 93, 104, 174,
+        228, 325, 367.
+    "Memoires d'un Maitre d'Armes," 75, 364.
+    "Mes Betes," 36, 45.
+    "Murat," 367.
+    "Pascal Bruno," 367.
+    "Pauline," 171, 180, 231, 325, 367, 370, 371.
+    "The Conspirators," 173, 271, 287.
+    "The Queen's Necklace," ("Le Collier de la Reine"), 105, 118, 204,
+        228, 241, 254, 255, 275, 295, 303, 306.
+    "The Regent's Daughter," 292, 316, 334-336.
+    "The Taking of the Bastille," 18, 24, 46, 175, 225, 250, 279, 288,
+        303, 317.
+    "The Wolf-Leader," 33, 46.
+    "Vicomte de Bragelonne," 24, 29, 38, 169, 199, 200, 205, 247, 259,
+        273, 288, 292, 298, 300, 321, 328, 330, 332.
+    "Vingt Ans Apres" ("Twenty Years After"), 29, 214, 225, 245-247, 303,
+        310, 324.
+
+
+  Zola, 7, 44, 64, 129, 188.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Punctuation has been corrected without note.
+
+The following misprints have been corrected:
+  "Sordonne" corrected to "Sorbonne" (page 10)
+  "be" corrected to "he" (page 330)
+
+Other than the corrections listed above, inconsistencies in spelling and
+hyphenation have been retained from the original.
+
+Errors in quotations, place names, and French passages have been retained
+from the original.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Dumas' Paris, by Francis Miltoun
+
+*** END OF THIS PROJECT GUTENBERG EBOOK DUMAS' PARIS ***
+
+***** This file should be named 35125.txt or 35125.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/5/1/2/35125/
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/35125.zip b/35125.zip
new file mode 100644
index 0000000..e1a8939
--- /dev/null
+++ b/35125.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..ba6806c
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #35125 (https://www.gutenberg.org/ebooks/35125)